EVER SINCE WE SMALL, second braided-stories novel in Standard English/T&T Kriol mixed from Mohammed

EVER SINCE WE SMALL
CELESTE MOHAMMED
Ig Publishing (non-affiliate Bookshop.org link)
$17.95 paperback, available now

Rating: 4.75* of five

The Publisher Says: An intricately woven tapestry of stories where survival, resilience and self-discovery are passed down through several generations of an Indo-Trinidadian family, Ever Since We Small is a sweeping epic that takes us from the days of the British Raj in India to multicultural modern Trinidad.

Written in a blend of Standard English and several flavors of Trinidad kriol, Ever Since We Small follows the bloodline of a young woman, Jayanti, following her decision to become a girmitiya, an indentured laborer in the Caribbean. The generational after-effects of this decision are seen in the lives of Jayanti's grandson, Lall, who seeks to escape the rural village where he was born, but instead becomes seduced and corrupted by urban life, and sis son, Shiva, who is forced to take a child-bride, Salma, but never recovers from the guilt. Heartache then follows for their three children, who must each find a way to accept and yet move past their parents' failed example.

Along the journey of these ten interconnected stories, the alchemy necessary to turn the family's inheritance of pain into a "generation of gold" requires intervention by the living and dead, the "real" and the mythical, the mundane and the magical, the secular and the sacred.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: In January 2024 I reviewed Pleasantview, the first braided-stories collection from the author. Like this work, it used Standard English interspersed with Trinidad and Tobago's kriols, as that's how the colonizers' language is used in that social setting. Each tongue has its place, each comes into play at certain conversational inflection points.

That will be a problem for some readers; I batten on it. It feels less like I'm reading a novel than listening in on life as the characters are living it. That makes the read feel more immediate, more as though it is happening not being reported after it's over. Quite a feat for a book!

I'll modify the Bryce Method of reporting on each story because the stories are more like ten chapters than ten self-contained, completely satisfying narratives. Again, this is to me a feature not a bug; but for others it might feel like a deal-breaker...or
I'll modify the Bryce Method of reporting on each story because the stories are more like ten chapters than ten self-contained, completely satisfying narratives. Again, this is to me a feature not a bug; but for others it might feel like a deal-breaker...or -maker for some.

THEN 1899-2000
The Legend of Jayanti treats the matter of the ancestral matriarch with the plainspoken matter-of-factness it does not deserve...this is drama enough to sustain a three-act opera! In the story, a young widow declines to satisfy her husband's family honor by committing sati, which you can look up yourselves. She instead leaves the Raj for indenture in the colony of Trinidad and Tobago. On the trip she meets and marries a man who fathers the line of descendants we're following here. 5*

Outsiders follows Shiva, their great-grandson, as he incurs a supernatural curse. He accidentally drowns a "buck" and is doomed from then on.

Godfrey's Revenge sees Shiva reap the terrible price of his carelessness. He and his child bride, Salma, are destitute; he's maimed; and he's racked with guilt over his role in the victimization of Salma. Doesn't have the wherewithal to refuse, but guilt is its own punishment.

Sundar Larki brutally finishes Shiva's curse for his crime against the buck. Here he commits more horrifying acts, truly repugnant ones that are explained but not excused by his being under a curse. The three Shiva stories as a unit merit 5*

NOW 2000-2017
The Visitation treats Shiva and Salma's daughter Abby's anxiety about her dark skin as she prepares to meet her white American boyfriend in the flesh for the first time. It's a gut-punch. Are women only to be judged by their attractiveness to men? Are darker-skinned people inherently less attractive because the Western mass media landscape promotes whiteness as The Standard? Are white men, of necessity, exoticizing darker-skinned women, and is this inherently victimization? None of these are explicitly asked, but they are very much there in the narrative. Answers...well...the questions matter far more. 5*

The title story, Terre Brulée,Goat-Mouth, Star Girl, and The Gospel According to Boisey, all have their own delights. None merited less than four stars, which is why the collection as a whole gets almost all five stars. I encourage all y'all to get on this bandwagon now, preorder one...they'll send a Kindle sample to you if you want to try the waters...but please get this marvelous exploration of the way humans relate to Others, and how deeply that shapes every conversation we have, knowingly or unknowingly.

Celeste Mohammed helps us think through the settler-colonial mindset by showing us in these lives the many ways it simply replicates itself, a malign meme of judgment that relentlessly pushes some down so others can stand on their backs.

Strongly, strongly recommended.

HEART, BE AT PEACE gave me agita

HEART, BE AT PEACE
DONAL RYAN
Viking Press (non-affiliate Amazon link)
$14.99 ebook, available now

Rating: 3.75* of five

The Publisher Says: From one of the most acclaimed Irish writers today, a new novel about smalltown Ireland that explores a community on the mend and the power of love and trauma to both bring people together and divide them

“I said it before. Madness comes circling around. Ten-year cycles, as true as the sun will rise…”

In a small town in rural Ireland, the local people have weathered the storm of economic collapse and now look to the the jobs are back, the dramas of the past seemingly lulled, and although the town bears the scars of its history, new stories have begun to unfold.

But a new, insidious menace creeps through back-alley shadows and into the lives of this community. Old grudges fester and new ones arise. Young people are lured by the promise of fast money while the generation above them tries to hold back the tide of an enemy beyond their control. And the peace of this small town is about to be shattered in an unimaginable way.

A stunning, lyrical novel told in twenty-one voices, Heart, be at Peace reveals a community that together looks to weather the storm of betrayals, secrets, and grudges that can divide families, towns, and entire generations.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: I got a copy of Steerforth Press's hardover of Author Ryan's debut, The Spinning Heart, years ago. I was not a fan. It felt to me like a lightened up, shallowed out, misery porn oratorio. This novel-in-stories (though Viking would not like that description, stories being anathema on the US market) is the thematic and setting follow-on to the first book. It isn't really a sequel because it makes perfect sense, nuance and all, to someone who has never read the first book.

It is, I'm unsurprised to say, written in the same style as the first book, and that is not greatly to my taste. It's not incompetent, or poor, or clumsy. It just...is. For barely over two hundred pages, it's fine, unexciting but fine. Any longer, though, and I'd be mental for need of some kind of verve, some hint of passion for or prejudice against. Like this: “That was always the way in Ireland, he said. You’d be hung for robbing an apple and made king if you robbed a castle.” Or this: “That’s what young ones do once the madness starts coursing through them. It’s a dangerous place in a person’s life, that shadowy path between childhood and adulthood, and it’s pocked and hexed with all sorts of traps and trials.” Or this: “Pokey had a friend from Malta or one of those quare places who was living down near the lake, just back from the foreshore, in one of those big low houses that was built on a foundation of bribes and bullshit back in the eighties.”

No one's ever said, thought, or written that before, have they.

So I found the execution wanting, and was not excited by the extremely short chapters that change viewpoints and function as slighly underdeveloped stories. If you're telling stories making them wgolly their own thing is best...but these are interdependent fragments of a narrative, I think, so neither fish nor fowl. If this was a deliberate choice, an intentional development of storytelling, it did not hit the mark for me. Too much slid past the PoV switches for me to feel fully satisfied.

Others will disagree, and will thoroughly relish all my cavils as features. I'm not warning anyone away from a poor product; your own tastes be your guide, and Kindle up a sample to see what you think of the writing.

For me, this is my last foray into this bit of Irish literature.

PLEASANTVIEW, multiple prize-winning Trinidadian story-novel

PLEASANTVIEW: A Novel in Stories
CELESTE MOHAMMED
Ig Publishing
$16.95 trade paper, available now

Rating: 4* of five

THE 2022 OCM BOCAS PRIZE FICTION WINNER!

2022 FIRECRACKER AWARD for FICTION WINNER!

The Publisher Says: Coconut trees. Carnival. Rum and coke. To many outsiders, these idyllic images represent the supposed easy life in Caribbean nations such as Trinidad and Tobago. However, the reality is far different for those who live there—a society where poverty and patriarchy savagely rule, and where love and revenge often go hand in hand.

Written in a combination of English and Trinidad Creole, Pleasantview reveals the dark side of the Caribbean dream. In this novel-in-stories about a fictional town in Trinidad, we meet a political candidate who sets out to slaughter endangered turtles for fun, while his rival candidate beats his “outside-woman,” so badly she ends up losing their baby. On the night of a political rally, the abused woman exacts a very public revenge, the trajectory of which echoes through Pleasantview, ending with one boy introducing another boy to a gun and to an ideology which will help him aim the weapon.

Merging the beauty and brutality of Trinidadian culture evoked by writers such as Ingrid Persaud and Claire Adam with the linguistic experimentation of Marlon James’s A Brief History of Seven Killings, Pleasantview is a landmark work from an important new voice in international literary fiction.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: PLEASANTVIEW is a mixed-idiom collection of Trinidadian fictions that's come in for a heaping helping of praise and prizes...albeit from very literary sources...was my next foray (after If I Survive You) into Caribbean-inflected English-language storytelling. What a dramatic difference between the two projects.

Where Escoffery's Booker-nominated Jamaican-American work was firmly set in the US, this delightful braid of nine stories is emphatically not about, for, or inclusive of US sensibilities. For this reader, that is a feature not a bug. While Author Mohammed does maintain Standard English spellings throughout the book, her inflections and emphases are decidedly NOT Standard English. Her characters would likely struggle to speak Standard English. Those of us without our life-experience being inclusive of other forms of English will likely have to make an effort to get into the flow of this idiom. It is always a good idea for everyone to read in and about areas that are not centering our own unique experiences. This task is made easier, and harder, when reading English that is not the same as the English most of my readers speak. The effort one puts in to see this magnificent, flexible tool of a language used in unfamiliar ways is a big benefit to those who make it. We're seeing our words and our understanding of them used and applied to think thoughts we could never come up with. Isn't that the entire point of reading fiction? Stretch your horizons a bit more with every read.

I am sure you're expecting that I will use the Bryce Method of offering a story-by-story opinion of each piece. Well, you lose this time. The nine stories are:

Prologue: The Dragon's Mouth (Bocas del Dragón)
Endangered Species
White Envelope
The Ides of March
Home
Loosed
Six Months
Santimanitay
Epilogue: Kings of the Earth

I've chosen not to review them individually this time because that is just not the point of this exercise; no one story here is exciseable from its context to present on its own as a really satisfying story. Contrast this with the above-referenced If I Survive You, whose stories are satisfying as stories, if slightly less so as a braid; but they weren't written to be one, so that's not shade. The difference is in expectations. Interconnected stories share a lot of themes, or characters, or settings; braided stories share all of those things and operate towards one storytelling goal, as novels do, though without a novel's unity of voice and/or purpose.

PLEASANTVIEW succeeds as a braid of stories, a polyvocal novel, in a way that a more ordinary novelistic structure would strain to match. It succeeds on its own terms, and offers us as readers access to a very different way of being in the world. The best kind of fiction, then, is what this is.

THE IMPERFECTIONISTS isn't perfect...but it's excellent!

THE IMPERFECTIONISTS: A Novel
TOM RACHMAN
Random House
$17.00 trade paper, available now

Rating: 4* of five

The Publisher Says: Set against the gorgeous backdrop of Rome, Tom Rachman’s wry, vibrant debut follows the topsy-turvy private lives of the reporters, editors, and executives of an international English language newspaper as they struggle to keep it—and themselves—afloat.

Fifty years and many changes have ensued since the paper was founded by an enigmatic millionaire, and now, amid the stained carpeting and dingy office furniture, the staff’s personal dramas seem far more important than the daily headlines. Kathleen, the imperious editor in chief, is smarting from a betrayal in her open marriage; Arthur, the lazy obituary writer, is transformed by a personal tragedy; Abby, the embattled financial officer, discovers that her job cuts and her love life are intertwined in a most unexpected way. Out in the field, a veteran Paris freelancer goes to desperate lengths for his next byline, while the new Cairo stringer is mercilessly manipulated by an outrageous war correspondent with an outsize ego. And in the shadows is the isolated young publisher who pays more attention to his prized basset hound, Schopenhauer, than to the fate of his family’s quirky newspaper.

As the era of print news gives way to the Internet age and this imperfect crew stumbles toward an uncertain future, the paper’s rich history is revealed, including the surprising truth about its founder’s intentions.

Spirited, moving, and highly original, The Imperfectionists will establish Tom Rachman as one of our most perceptive, assured literary talents.

My Review: I was very remiss with this book. It came out in 2010, and I read it that year. I've since gifted it to several others. Did I set down a review? No! Lazy lazy me. That doesn't mean that I don't encourage you to read it, because I do.

There is nothing of the novel about the book, though. Don't go in thinking you'll get Time's Arrow bedecked with cohesive details. You're getting interconnected short stories set in the same world. But say that to the marketing people at any publishing house, the buyers at every bookery, and even the Woman in the Street, and watch their eyes dim and their arms cross and their butts shift uncomfortably in the chair. Stories = Death in publishing. Less than a third the copies of a novel, be it hit, bestseller, or failure. So disheartening! So very annoying to me, too, since what is a chapter except a deeply woven short story set in a shared universe?

Anyway. Enough about that.

Why should all you storyphobes read this book?

“What I really fear is time. That's the devil: whipping us on when we'd rather loll, so the present sprints by, impossible to grasp, and all is suddenly past, a past that won't hold still, that slides into these inauthentic tales. My past- it doesn't feel real in the slightest. The person who inhabited it is not me. It's as if the present me is constantly dissolving. There's that line from Heraclitus: 'No man steps in the same river twice, for it is not the same river and he is not the same man.' That's quite right. We enjoy this illusion of continuity, and we call it memory. Which explains, perhaps, why our worst fear isn't the end of life but the end of memories.”

That's one of many passages that made me pause, reach for the Book Darts, and mull. Memories are us, we are our memories, life is a brief flash before the eyes and then a deposit on the stockpile of memories. Yes. Well. What makes that okay, for me, is the existence of literature and the presence in my environment of books. So Rachman puts it to me, in this passage, that my stockpile of memories is susceptible to loss and reminds me that it's something to fear...except:

“You can’t dread what you can’t experience. The only death we experience is that of other people. That’s as bad as it gets. And that’s bad enough, surely.”

Aha. Yes. As bad as it gets is losing the memories to come! Agreed, and in a very odd way, it soothed a bit of my ill temper at the inevitability of death. (I'm still ticked at the prevalence of loss, which is in fact a thing to dread.)

That is the bargain one makes in forming relationships, though. Loss is a part of it, whether to death or separation. We're always in a process of loss after a certain age, or a process of *consciousness* of loss to be precise. It's the defining characteristic of being in relationship. Or A defining characteristic, as Rachman points out:

“I have to wonder if you're not being slightly naive here. I mean, are you saying that you want nothing from people? You have no motives? Everybody has motives. Name the person, the circumstances, I'll name the motive. Even saints have motives -- to feel like saints, probably. ... But still, the point of any relationship is obtaining something from another person.”

For good or for ill, that is the basic motivation, the essential need, the driving desire of them all, be they romantic, sexual, casual, intense, fleeting, or enduring. We want something, unless we're Bodhisattvas. That makes the whole of human existence sound so tawdry, doesn't it?

But nothing in all of the Universe is unmixed. Not even the pure chemical elements are unmixed. After all they each and every one began their existence as hydrogen, the simplest thing in all of creation, and were forced, compressed, annealed into their current pure states by the explosion and death of a star. From that death, that ultimate transformation of a bright and shining object into a myriad of other, unshining things, all of existence as we know it flows. Our own lives show us that endings are beginnings and all beginnings are neutral. It's what one does next, what flash of the present one accepts into the stockpile of memories, that determines which endings are "good" and which "bad." Rachman says this more succinctly, I think, when he writes, “Anything that's worth anything is complicated.”

Mmm hmmm.