As one of the characters puts it, “Art is a humanizer,” and Farah’s insistence on isolating the humanity in even the most...
A Somali husband and wife living in Norway are pitched into chaos, acrimony, and upheaval after their son embraces radical Islam and dies as a suicide bomber.
As in Farah’s last novel, Hiding in Plain Sight (2014), an act of violence sets in motion a chain of events disrupting a family’s stable life. It is the spring of 2009, and Mugdi, a former Somali diplomat now living in Oslo with his wife, Gacalo, has found out that their estranged son, Dhaqaneh, who fled to their homeland as a jihadi, has blown himself up at the international airport there. Gacalo, upon recovering from her grief, reminds her husband of the promise he made: that they would welcome into their home their widowed daughter-in-law, Waliya, and her two young children from a previous marriage. Mugdi, more than his wife, is bracing for what could be an unsettling culture clash, and his apprehensions grow when he finds Waliya to be sullen, withdrawn, and monastic in adhering to her Islamic faith, demanding that her son, Naciim, and daughter, Saafi, rigidly follow her religious tenets. But both children are attracted by the freedoms their new homeland offers, especially Naciim, who almost from his arrival in Norway yearns to earn enough money to buy a lottery ticket. He also chafes at the many strict rules imposed by his mother, including her fierce opposition to his associating with non-Muslim school friends and their families. The anti-immigrant bigotry of Norwegian citizens looms over this family’s painful transition, exploding at one point with Anders Behring Breivik's 2011 mass slaughter of more than 70 people, including teens attending a multicultural youth camp. At the opposite end of the spectrum is the anti-Western intolerance of Waliya and some of her fellow refugees, which reaches a tipping point with Naciim after he is brutally whipped by an imam as “punishment” for “disrespect.” Between these two violent extremes, Mugdi’s besieged-but-steadfast equanimity, as well as the author’s, provides relatively safe haven from the prevailing tension and strife.
As one of the characters puts it, “Art is a humanizer,” and Farah’s insistence on isolating the humanity in even the most difficult characters is a beacon of hope against fear and loathing.Pub Date: Dec. 4, 2018
ISBN: 978-0-7352-1423-1
Page Count: 384
Publisher: Riverhead
Review Posted Online: Oct. 14, 2018
Kirkus Reviews Issue: Nov. 1, 2018
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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