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.

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.

MEDEA SANG ME A CORRIDO, latest feminist redemption of a Classical-mythology woman's character

MEDEA SANG ME A CORRIDO
DAHLIA DE LA CERDA (tr. Heather Cleary & Julia Sanches)
The Feminist Press (non-affiliate Bookshop.org link)
$17.95 all editions, available now

Rating: 4.75* of five

The Publisher Says: A punk revival of Medea as a Mexican anti-angel of birth and death, from the International Booker Prize–nominated author of Reservoir Bitches

In Northern Mexico, Paulina, Perla, Antonia, Reina, and Jordan are striving to survive the barrio—hustling on the edge of a cartel-run economy, nursing the wounds made normal in a world that eats its own. Hovering over their trials is a spirit with gothic flair, dressed in black and crowned with braids: Medea, a mythic mother of the Chihuahuan desert, ancient as the Aztecs but never too old to be petty.

From aiding a trophy girlfriend’s abortion, to accompanying a mother in her search for her lost child in the desert, to embracing those taken too soon in the narco’s brutal proxy wars, Medea fights for justice for her chosen mortals—her divine wrath the only power that could rival the corrupt, violent web spun by the cartel, the government, and the military. Dahlia de la Cerda’s magnetic prose draws readers right into the heart of that web—and links all our fates to the missions of Medea, equal parts midwife and gravedigger, a femme fatale god in a femicidal world.

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

My Review: Repurposing classical myths for the twenty-first century is a...subgenre? full genre? literary storytelling technique?...an effort I enjoy a great deal. Medea repurposed as avenging goddess, destroying angel, wrathful righter of women's victimization, has double appeal for me. It corrects what I've always seen as the calumniation of a powerful healer-semidivinity with the accusation of insane jealousy over a man who has abandoned her for another woman. She is accused in classical sources of murdering her children, born of her body, to exact revenge on a faithless fucker she literally enabled, by using her skills and knowledge, to come to power and riches.

A healer-spirit so skilled she is regarded as divine.

Male anxiety much, Euripides?

So I've never found the famous version of Medea at all convincing. It smacks of an attempt to invalidate a powerful and skilled woman by making her hyperfocused on a man; by accusing a mother of murdering her children born of her body because a man hurt her feelings by betraying her with another woman.

Hogwash.

No better mythological figure, then, to be repurposed into a guardian of women in a seriously patriarchal, femicidal culture like that of the narcotraficantes. Setting these interconnected stories...more like very well-defined chapters than actual stories, what I myownself have always referred to as "braided stories" because, like a braid, the separate strands are evident while making together a whole effect not possible for the strands separately (see Celeste Mohammed's works)...in what she calls "Aztlán," the narcostate existing in Northern Mexico where femicide is appallingly rampant offers Author Dahlia wide scope for Medea's redemption. As an avenger, Medea appears here with clear markers of supernatural power: "Then she kissed me on the forehead and shot through the sky in a snake-drawn carriage," is not a description of an everyday person. Six women in dire trouble are visited and assisted by Medea in barely over a hundred pages.

None of them are spotless, sweet little fembots, which is a relief. Messy, horny, misguided people are innumerable across the globe and occur in every ray of the rainbow of identities humans so love to pretend are Ordained and Immutable. Medea ignores these ideologically driven cultural fripperies to effect redress for the wronged.

It's satisfying to me because I like Ma'at being served by Justice (very different in my observation from mere "justice" such as the travesty being perpetrated by the US government department using that name). Medea, in Author Dahlia's hands, serves and renders Justice even in the face of "justice."

I have only one critique to offer in support of my just-off-perfect rating of the work: sometimes speed is not your friend when offering tendentious and muckraking narratives. I felt, by the end of the read, I was not in possession of enough facets of each woman's life experience to grasp the motivation for Medea coming to the rescue. It's not necessary for the story of Medea as avenger to be formed and shaped. That is done, and the shape is one I found enrichingly sharp. I was not utterly enthralled where that was *easily* within Author Dahlia's reach.

It's a braid of great beauty. It stops short of Divine Grace. And it is so urgently necessary for all of us to get our heads around the reason it exists I'm here pushing it at you. Please pick one up soonest.