Passage to Dusk deals with the Lebanese civil war of the 1970s in a postmodern, poetic style. The narrative focuses on the deranged, destabilized, confused, and hyper-perceptive state of mind created by living on the scene through a lengthy war. The story is filled with details that transcend the willed narcissism of the main character, while giving clues to the culture of the time. It is excellent fiction, written in a surrealistic mode, but faithful to the characters of the people of Lebanon, their behavior during the war, and their contradictions. Issues of gender and identity are acutely portrayed against Lebanon's shifting national landscape.
The English-language reader has not been much exposed to Lebanese literature in translation, and Rashid al-Daif is one of Lebanon's leading writers. He has been translated into eight languages, including French, German, Italian, Polish, and Spanish. Translator Nirvana Tanoukhi manages to preserve Daif's unusual, moving, and at times humorous style in her English rendition.
This lyric portrait of life—and the little donkey, Platero—in a remote Andalusian village is the masterpiece of Juan Ramón Jiménez, the Spanish poet awarded the 1956 Nobel Prize for Literature.
A Portal in Space, set in Basra, Iraq, during the Iran-Iraq War (1980–1988), follows the lives of Anwar, a newly minted architect, and the other members of his affluent family as they attempt to maintain a sense of normality during the frequent bombing attacks from Iran. When Anwar joins the Iraqi army and then goes missing in action, his family struggles to cope with uncertainty over his fate. His mother falls into depression and secludes herself in the family home, while his father shifts his attention from his duties as a judge to the weekly pilgrimage to Baghdad seeking information on his son—and to Zahra, the young widow he meets there.
Emotionally engaging, A Portal in Space is a wry, wise tale of human beings striving to retain their humanity during a war that is anything but humane. Mahmoud Saeed succeeds brilliantly in bringing the sights and sounds of Iraq to life on the page—whether in a bunker on the front lines of the Iran-Iraq War or in the parlor of a fortune-teller in Baghdad. As Zahra says of the novel she is writing: “It is a normal novel that contains love, war, life, deceit, and death.”
In an unnamed town in the Ecuadorian Andes, a small wooden icon—La Virgen Pipona (the Potbellied Virgin)—conceals the documents that define the town's social history. That history recently has been dominated by the women of the Benavides family, a conservative clan and, not coincidentally, the caretakers of the Virgin. Their rivals are the Pandos, a family led by four old men who spend their days smoking in the park across from the Virgin's cathedral and offering revisionist versions of local and national events. When a military skirmish threatens the Virgin (and the secret in her famous belly), the Benavides women must scramble to preserve their place as local matriarchs—without alerting the old Pandos to the opportunity that might enable them to finally supplant their rivals.
One of Ecuador's foremost contemporary writers, Alicia Yánez Cossío illuminates the complexity of Andean society by placing disenfranchised players such as women and Amerindians onstage with traditional powers such as the military and the church. Folk wisdom, exemplified in The Potbellied Virgin by the beautifully translated proverbs so popular with the Benavideses and the Pandos alike, stands up to historical record. Such inclusiveness ultimately allows the whole truths of Yánez Cossío's subjects to emerge. Only the second of her novels to be translated into English, The Potbellied Virgin (La cofradía del mullo del vestido de la Virgen Pipona) is a funny, focused portrait of Ecuadorian life in the twentieth century.
The Puppet, a mythic tale of greed and political corruption, traces the rise, flourishing, and demise of a Saharan oasis community. Aghulli, a noble if obtuse man who has been chosen leader of the oasis, hankers after the traditional nomadic pastoralist life of the Tuareg. He sees commerce (understood as including trade in gold, marriage, agriculture, and even recreation) as the prime culprit in the loss of the nomadic ethos. Thus he is devastated to learn that his supporters are hoarding gold.
The novel's title notwithstanding, the author has stressed repeatedly that he is not a political author. He says that The Puppet portrays a good man who has been asked to lead a corrupt society. The subplot about star-crossed young lovers introduces a Sufi theme of the possibility of transforming carnal into mystical love. The Puppet, though, is first and foremost a gripping, expertly crafted tale of bloody betrayal and revenge inspired by gold lust and an ancient love affair.
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