Wednesday, 1 August 2018

Review: Where the World Ends by Geraldine McCaughrean

Where the World Ends is a novel about a group of youngsters (and a few men) whose working excursion to a stack out in the sea turns into a nightmare when no one comes to collect them after their working time is up. Just a few miles away from their home town, they become marooned on an inhospitable, dangerous, steep rock jutting out from the ocean.

St Kilda was once one of the remotest outposts of British influence in the North Atlantic. A set of islands populated by a few dozen people eking out a harsh living based on sheep farming and foraging (harvesting wild sea birds for food, oil, feathers and fuel). The Warrior Stack, where the story takes place, was a prime location for fowling at the end of the summer, so youngsters were taken there to camp for a fortnight and harvest all the birds they could.

Our protagonist, Quill, is one of the older boys. He has one good friend, Munroe, and a head full of fond thoughts about a girl who visited their island. He has some charisma, looks out for the younger boys, and knows how to get along with people even if they're unpleasant.

The grown ups - a teacher, a gravedigger / assistant to the church, and only one practical man, aren't very effective as a leadership group. The gravedigger is self-important and soon establishes himself as minister / spiritual leader, but he is resented by the other men and, though obeyed, despised by most of the boys. The teacher sinks into depression, so he disengages from everyone and seeks out solitude a lot. And the practical man is content to do his own thing. There is no functional leadership, really.

Which means that the only contestant for a leader whom the youngsters follow out of choice is Quill. With some semblance of diplomatic skills, a sensible head on his shoulders, courage, strength, etc., he becomes a de facto rival to the self-appointed minister.

At times, Where the World Ends reads like a Scottish Lord of the Flies. Man vs nature very rapidly turns into Man vs other men. However, conflicts don't become as entrenched: as islanders from a tiny community, these men and boys are used to living in tiny groups, with frictions and resentments, but ultimately, the capacity to get along just enough to survive.

As an adventure story, Where the World Ends is a bit bleak. The harsh surroundings are one thing, but the boys (and men) are mostly not very likeable. Quill is a decent guy, but the other boys include a hateful, toxic bully, a pompous uber-religious preachy kid, sullen loners, and kids ready to turn into an angry mob with the slightest encouragement. Essentially, this is a story about boys and men barely getting along (and rarely working together) to survive - there are almost no friendships, there is little camaraderie, and the only relief comes in the form of stories they tell each other to remind themselves of home and humanity.

I was surprised by the bleak and harsh mood of the novel. I bought it under the impression that it is a children's book, or YA. (The author is an award winning children's writer, and some reviewers suggested it's a book for mini-Bear-Gryllises). Instead, I found myself reading a novel that would have been squarely aimed at adults, had it been written 40 years ago. It's shorter than contemporary fiction for adults, but in tone, subject matter, character complexity and story, there is nothing particularly child-like about it. The brevity and pace won't test the patience of younger readers, but the story won't feel patronising or childish to even the most prolific adult reader.

Rating: 4/5


Thursday, 26 July 2018

Review: Apu Ollantay A Drama of the Time of the Incas

Apu Ollantay is a unique artefact. It is the only drama / play script which was written in Quechua and which claims to be of Inca origin. That claim is disputed. Reading it in English makes for a curious and not always comfortable experience. You can download a version for free through Project Gutenberg - and that is the version I read and link to.

There are three aspects that my mind focused on when reading Apu Ollantay:

1) The framing (written by its translator, an academic)

2) The historicity (what was the context of its writing, is it authentic, is it Inca?)

3) The text itself

The Framing: On Translators and 19th Century Scholars


Since the framing takes the form of a lengthy foreword followed by lots of footnotes, it's fair to look at that first. Perhaps unsurprisingly, it is "of its time". The translator/author gives context of the claimed history of the play itself, which is useful, and the provenance of the written text which he used for his translations. Translations, plural, because the version preserved for history on Project Gutenberg was not his first attempt. In fact, the author reveals that there has been some controversy: he first translated the text, line by line, in 1871 "with many mistakes, since corrected". In strolls a person whom the author obviously isn't terribly fond of:
"In 1878 Gavino Pacheco Zegarra published his version of Ollantay, with a free translation in French. His text is a manuscript of the drama which he found in his uncle's library. Zegarra, as a native of Peru whose language was Quichua, had great advantages. He was a very severe, and often unfair, critic of his predecessors.
The work of Zegarra is, however, exceedingly valuable. He was not only a Quichua scholar, but also accomplished and well read. His notes on special words and on the construction of sentences are often very interesting. But his conclusions respecting several passages which are in the Justiniani text, but not in the others, are certainly erroneous. (...)
The great drawback to the study of Zegarra's work is that he invented a number of letters to express the various modifications of sound as they appealed to his ear. No one else can use them, while they render the reading of his own works difficult and intolerably tiresome 
 (....)
There is truth in what Zegarra says, that the attempts to translate line for line, by von Tschudi and myself, 'fail to convey a proper idea of the original drama to European readers, the result being alike contrary to the genius of the modern languages of Europe and to that of the Quichua language.' Zegarra accordingly gives a very free translation in French.
In the present translation I believe that I have always preserved the sense of the original, without necessarily binding myself to the words."

(Emphasis mine)
It's a little strange to read. There is begrudging admission that Zegarra's work was invaluable. At the same time, the author is bitter and much annoyed about the (admittedly accurate!) criticisms that Zegarra made about his own work (and that of other Western academics). So, in response to these criticisms, the text now preserved on Project Gutenberg was produced - a looser translation, which sticks closer to the scansion and poetic forms of the original, but is less loyal to line-by-line meaning. (He also sticks to his own conclusions about what scenes were supposed to convey, e.g. by including "humorous" dialogues that Zegarra didn't)

Still, reading the snide asides about the "difficult and intolerably tiresome" text produced by the only native scholar (& Quechua speaker) and the whining about how "severe and often unfair" his criticism of the efforts of non-native scholars were, while acknowledging that his criticisms were broadly correct... it's hard not to see this as pretty staggering entitlement and arrogance on behalf of Sir Clements Markham (the scholar who wrote this translation). It's also a bit rich that he almost complains about Zegarra having a "great advantage" due to being a native Peruvian & Quechua speaker. The end result is that I wish Zegarra had written an English translation, or that my own French was serviceable enough to seek out his work and read that instead of this one.

Another example of being "of its time" is in the footnote where Sir Markham writes that "The Inca Pachacuti does not appear to advantage in the drama. But he was the greatest man of his dynasty, indeed the greatest that the red race has produced." (again, emphasis mine)

So: the framing makes me distrust this version of the text a bit. Being a loose translation is fair, so long as there is loyalty not just to form, but also to substance. A loose translation written with some colonial arrogance thrown in? It undermines my trust in the authenticity of the text.

Historicity: An Inca Play?

Spanish conquistadors reached the Inca in the 1530s. The first written text of Apu Ollantay was put on paper in 1770. The Markham text was written in 1910. So 240 years passed between the conquest and the time when the play was written down for the first time, and another 140 before this translation was produced.

A lot happened to the Inca and their descendants in those 240 years.

Markham outlines the historicity right at the start:
"The drama was cultivated by the Incas, and dramatic performances were enacted before them.(...) Some of these dramas, and portions of others, were preserved in the memories of members of Inca and Amauta families. The Spanish priests, especially the Jesuits of Juli, soon discovered the dramatic aptitude of the people. Plays were composed and acted, under priestly auspices, which contained songs and other fragments of the ancient Inca drama. These plays were called 'Autos Sacramentales.'
But complete Inca dramas were also preserved in the memories of members of the Amauta caste and, until the rebellion of 1781, they were acted. (...) Taking the name of his maternal ancestor, the Inca Tupac Amaru, the ill-fated Condorcanqui rose in rebellion, was defeated, taken, and put to death under torture, in the great square of Cuzco. In the monstrous sentence 'the representation of dramas as well as all other festivals which the Indians celebrate in memory of their Incas' was prohibited.[2] This is a clear proof that before 1781 these Quichua dramas were acted."
Despite his claims, I am aware that there is an oft-quoted stance taken by academics studying the Selk'nam people of Patagonia that those were the only native peoples with a pre-conquest history of drama, in the shape of their Hain rites of passage. Assuming that academics studying the Selk'nam were not completely ignorant of the work academics studying the Inca had produced, this suggests that the historicity of Incan drama can't have been universally accepted by scholars.

Did the Inca perform plays? And was Apu Ollantay an Inca play? Did people pass on Inca dramas in oral history within one caste / family for hundreds of years, ready to be recorded at last by Western & priestly scholars with a sudden interest in recording such things? And is the resulting record authentic to pre-conquest Inca dramatic lore?

After reading the play, I think that, whatever the kernels of its original seed, it must have undergone a lot of adaptation in the hundreds of years under Spanish rule. From things as simple as having a scythe as a symbol of death (even though the Inca had a scythe, I doubt it had the same symbolism), to casting the founder of the Inca empire and venerated Inca hero as the villain of the piece, the text feels like most of it was meant to appeal to post-conquest society. I have no doubt that there were performative arts in Inca times - storytellers, songs, festivals, rituals - and I can imagine staged plays being part of that, too. But reading an English text written in 1910 by a British scholar based on texts recorded in 1770... that text did not feel like it was part of a pre-conquest canon of plays, not to my eyes.

Apu Ollantay: A Romance

The story of Apu Ollantay is very simple. If I had to summarise it, I'd describe it as Romeo and Juliet crossed with Coriolanus, minus any complexity. Full plot (SPOILERS) ahead:

Big general Ollantay is in love with princess & daughter of his king. The king's law decrees that royals may only marry each other. General & princess have married in secret. The general asks the king for his blessing, is refused, and plans a rebellion & conquest, but by the time he is ready to do this, the king has taken his court elsewhere. Ten years later, and the civil war caused by the general's uprising is still in progress. The princess had a daughter, who lives in a temple of sacred virgins and is sad about being alone and locked up. Also, she hears mournful cries at night. King dies. Little girl discovers that the mournful crying comes from her mother, who is locked up in a dungeon below the temple. New king sends out his general to conquer the rebels once and for all, which he does by acting as a trojan horse. When the rebel general is brought to the new king to face justice, he is suddenly offered mercy and permanent rule over a province of his own. Then, the little girl storms the palace and pleads for her mother's life, so the king (and all present) go to investigate, discover the locked-away princess in the dungeon, and everyone lives happily ever after.

I felt that the plot was very thin. I do wonder whether my impression would be different if I saw the play performed on stage: reading scripts can sometimes feel a lot flatter than seeing them performed.

The tone of the Markham text feels a bit faux-Shakespearian (hence my comparison to Romeo & Juliet and Coriolanus). The author makes choices about which Quechua names and words to use, and which to translate, but these choices are to the detriment of the text when characters make a lot of puns that are now broken. (One character has a name that includes the Quechua word for "rock" or "stone", so there is a lot of talk about stones and rocks whenever he is around. Only the footnotes make clear that these are puns. Another character is called "joyous star" in Quechua, so when others ask her where the joy has gone, or refer to her as "the star", then the text again relies on footnotes to clarify the meanings).

There are references to locations, plants, animals, and some customs which are Inca. At the same time, the court, the generals, the temple of virgins... those things don't seem very different from tropes in Western drama. Incan religion is laid on very, very thin, if at all. If the play was not originally conceived in post-conquest times, then it seems very likely that it was toned down to avoid persecution by the zealot Catholics in charge for hundreds of years. The end result is a play that, in its English translation, could just as well be a play about any other old civilisation. Egyptians, Romans, Greeks, Macedonians, Ottomans. Is it the act of translation itself which causes this feeling - of a story dipped in Inca decorations for flavour, rather than an Inca story? Or is it the fact that, whatever kernel of Ollantay's story had been the root of this play, it probably took on influences by the conquerors and their cultural traditions (or rather,  was it heavily edited and amended over time because of prevalent persecution)? I don't know.

All in all, I would buy a ticket and see this play performed on stage, to see if it feels differently that way. I would love to see it in Quechua, with English subtitles or surtitles. However, on paper / screen, the text is an interesting curiosity, but not quite the immersive dive into Incan culture I had hoped for.

Thursday, 5 July 2018

Review: Children of Blood and Bone by Tomi Adeyemi

Children of Blood and Bone is a book with one of those striking, stunning covers which makes it hard to look away (let alone ignore). Even so, the text on the back cover made me think twice before buying it:

"(...) Under the orders of a ruthless king, maji were targeted and killed, leaving Zélie without a mother and her people without hope. Now Zélie has one chance to bring back magic and strike against the monarchy. (...)"

This did not sound like a lighthearted magical romp...
...and it isn't.
(Yup, that's my best Top Gear impression up there).

We get to witness the brutal genocide that happened ten years before the story starts. We witness torture, war crimes, slaughter for entertainment, the violent killings of children, persecution of a minority, and brutality of all kinds.

The plot is fairly simple: mysterious artefact can bring back magic. Through luck, it falls into the hands of Zélie and ignites her own magic, so she has to flee her persecutors, round up some other artefacts, and bring them to a certain place by a certain time to do a big ritual summoning of magical powers for her entire kingdom. Basically, it's a quest and a chase and there is a little relay shuffle of alliances and artefacts. That is actually a setup that lends itself well to swashbuckling adventures... except, Children of Blood and Bone is so very, very serious. Too serious to buckle any swashes.

Aside from the basic plot, the story is one defined by trauma and violence. The four viewpoint characters, all youngsters, are:

Zélie - a girl who is a trained fighter and also a diviner - a descendant of the maji who had magical powers before their powers were mysteriously eradicated (which led to all the maji being killed in a genocide). She is traumatised by her past which featured horrendous brutality.

Tzain - her brother, who is a trained fighter, playing some kind of combat sport. He  is traumatised by his past which featured horrendous brutality.

Inan - crown prince and trained fighter / warrior.  He is mildly traumatised by his past which featured horrendous brutality.

Amari - princess, younger sister of Inan, who is not yet much of a fighter at the start of the story, but whose journey is to become... a trained fighter / warrior. She is traumatised by her past which featured horrendous brutality.


Ahem. 

Did you notice how often "trained fighter" or "traumatised" and "horrendous brutality" were mentioned above? Yup. Therein lies one of the problems. All our characters are traumatised, victims of violence, fighters, perpetrators of violence. Don't think that means there is a lot of moral relativism going on - there isn't. There is outright evil, and there are those who fight it and who are more or less good, even if they use torture now and again or kill lots of innocent people who happen to be in their way, because the evil they are fighting is just the worst. My issue as a reader isn't one of pacifism (well, not just: the book is so bereft of idealism that I grew quite fatigued with its moral emptiness), it's that there is surprisingly little variety between the characters. Amari stands out for being meek to begin with, but the rest? Their personalities are pretty interchangeable. Amari's story arc is to become just like the others, which is not exactly an improvement, if I'm honest.

I'm going to mention Game of Thrones at this point, because it is the landmark grimdark series that almost everybody is familiar with. GoT does have some variety. Brienne of Tarl, John Snow, Daenerys, Arya Stark, Sansa Stark... all GoT characters may have suffered traumatic events and that trauma has influenced them, but there are still some pretty big personality variations between them. In Children of Blood and Bone, it felt like I was reading one character, four times over, with different attributes in the columns "sex", "magical powers", "wealth and privilege", "prior trauma" and "preferred weapon". They make different choices, based on those attributes and personal experience (only Inan has not suffered a personal loss, only  Zélie has always been visibly a persecuted minority), but their personalities are pretty much the same: "tough fighter with trauma".

So we have a novel of four ass-kicking kids struggling in a mini-war between the downtrodden and their persecutors, with the fate of a kingdom in the balance. The story's tone is pseudo-African, grimdark, possibly just about YA (lots of violence, some sexy stuff but with the story moving on before anything too graphic can occur, etc.), and remarkably joyless. It's that last aspect which I found most difficult. 

There are grimdark books which manage to lighten themselves up, by having a smidgen of humour, or some characters which are witty or funny. Children of Blood and Bone is not one of those books. It couldn't raise a smile if it added a gaggle of clowns and a pie fight. (The clowns would accidentally burn themselves  to death and the pies would be full of drugs and poisons and the entire pie fight would be a trap, in this book)

Perhaps the author was aware of this, so in the only attempt to soften the tone I could notice,  there is some teen romance going on. I pretty much hated it, but can't say that this counts much against the book: I am not exactly a fan of vapid, predictable and forced teen romance plotlines in any novel. Other readers might not find the romance in this book predictable, vapid and forced, and for them, it might very well do wonders to make the story more enjoyable.

As you can tell from the review so far, I really did not enjoy the book. The final nail in the coffin is that the story is not terribly internally consistent.  Zélie and Tzain are the poor, downtrodden children of a sick father, living in dire poverty, etc. etc., who happen to have a massive horned beast they can ride on, which can jump over the walls of a city. Wait, what? So, maybe they would hold on to their animal, maybe they would treat it as part of the family even after losing everything, maybe its presence can sort of make sense. But in a world where lots of people ride on giant horned lions and panthers - what sort of city builds walls that any one of those animals can just jump over? How is "my beast of burden arrived" a valid rescue from being surrounded by guards sitting on similar beasts, inside the protective walls? (By the way, I don't recall anyone ever feeding any of these creatures, so how on earth  Zélie's family sourced the meat for a rhino-sized predator while being so poor they could only afford a slice of bread once or twice a week is pretty mysterious). If you accept all the big critters, and the bad city architects, then you are still left with battle scenes that are bereft of simple writery logistics. In one scene,  Zélie has to get from point A to point B, and hurries as if her very life depended on it, seeing en route all kinds of atrocities, even ignoring a small child crying for help  in a burning building (the child burns to death), all so she can get to point B where she really really needs to be. So far so gruesome. But, within one moment of her arrival, she turns around and is found by characters who were with her at point A, who made their way by a different route, and who happened to stumble upon the character she was hoping to find in point B, and who then, with said character, made their way to point B to get  Zélie . Said character is not exactly very mobile, either.  Did  Zélie pick a particularly scenic, roundabout route? WTF? There were one or two other occasions where climactic conflicts occurred, but in ways which made no logistical sense at all, with characters seemingly teleporting from one place they were needed for dramatic reasons to another. 

All in all, Children of Blood and Bone was not the right book for me at this time. I could not derive sufficient pleasure from the afro-punk aesthetic, or the romance sub plots, to lift the story above the joyless brutality, the plot holes, the strange predictability, the blandness of the characters. It was a slog to get through - more so than, for example, the later Hunger Games novels. I've read that someone has bought the movie rights, and I can imagine that the aesthetic will be very striking on screen, and that a fast, trimmed down version of this story can work well, but as a novel, I found it bereft of things I could enjoy.

Rating: 2/5

Friday, 15 June 2018

Book Review: Hekla's Children by James Brogden

Hekla's Children is a novel that taps into horror, mythology, fantasy, archeology, and the British countryside. The monster of the story is the afaugh, sort of a British Wendigo: a spirit of cannibalism and greed which possesses people and makes them do terrible things. At the start of the novel, an ancient tribe plagued by the afaugh decides to make a sacrifice to hold it at bay.

Fast forward to ten years ago, when a group of kids on a scouting exercise in a small woodland adjacent to a city suddenly disappear when their group leader leaves them on their own.

Fast forward to now, when a skeleton is found in those very same woods, and an archeologist is called in to determine if it's old or young enough to potentially be a victim of a crime that the police need to solve...

Hekla's Children is in an outstanding novel. It mixes science (archeology), myth, the uncanny, horror, and a timeless mythological realm with great skill and fluidity. The closest comparison I can think of is The Truth Is A Cave In The Black Mountains by Neil Gaiman, which has a similar atmosphere, perhaps a little more condensed and distilled and sharp, but similar enough for this novel to belong in the same space as that novella.

It's not just a novel of atmosphere: the story never gets boring, and there is real tension at pretty much every stage of the book. I don't know whether the book is a "horror" novel, but it's dark and pretty ruthless in the way it treats its characters, and there is some fundamental dread at times when they are being pursued by the monstrous...

I can't think of anything to fault the novel for. It's entertaining, atmospheric and beautifully grim. Highly recommended to those who like their fiction dark.

Rating: 4.5/5

Monday, 11 June 2018

Book Review: A Prehistory of South America: Ancient Cultural Diversity on the Least Known Continent by Jerry D. Moore

A Prehistory of South America is not a pop-science book. Instead, it was written as a book for undergraduate archaeologists and those who are quite interested in Latin American history and archaeology. As such, it is well outside my usual reading habits.

First things first: "prehistory", as used by the author, means pre-European-conquest. This is because once Europeans arrive, they write the history of their own actions, and even record some information about the locals they find (albeit much distorted by their own biases). Before Europeans, the societies and civilizations that lived in South America did not chronicle their own histories in a way that can still be read by today's historians. What forms of writing and recording there were (besides oral histories) are largely impenetrable now: some civilizations had hieroglyphic records, others used systems of strings and knots (the khipus in the Andean areas), others used stylized pictorial art to convey meaning and myth to the initiated, but each of those records is far removed from written language. Therefore, the knowledge we have of pre-conquest societies is fluid, subject to new discoveries, and incomplete.

Jerry Moore argues that archaeology has to take the lead in revealing information about these societies: the oral histories that reached conquistador chroniclers are insufficient, partially because most of the conquistadors weren't even trying to be unbiased, and partially because the oral history was incomplete and equally biased.

A Prehistory of South America is probably the closest thing to the book I was hoping to find. What I really wanted was a sort of encyclopedia, organised on a timeline, with plenty of maps, telling me which societies lived where, how they lived their lives, how they were organised, and how they developed, over time, from the first arrival of man until the arrival of Europeans. Unfortunately, it looks like that is not actually possible, as the knowledge simply does not fully exist yet.

Instead, the book is organised into chapters which look at different aspects. Say, the arrival of humans. Or the rise of agriculture and different methods of subsisting and exploiting natural resources. Each chapter uses a handful of case studies from across the continent, and none of the chapters are bound purely by chronology. So a society living 3000BC and a society living 800AD may be showcased in the same thematic chapter, despite the huge gulf in time (and location) between them.  At first, I worried this way of looking at things would be chaotic to my brain, but actually, it works very well.

Even at 500+ pages, the book can only offer a cursory look at each society and each civilization. Fortunately, the book is richly illustrated with photographs, maps, drawings, and academic references to give the reader a clearer idea what is being described, and where to go for more in-depth information. It is written in a style that is clear, generally accessible despite being somewhat academic, and the author always makes clear how certain a bit of knowledge is, or where alternative theories are still not settled.

In short, the book is fantastic starting point for finding out about the history of pre-colonial South America - which is a mindbogglingly fascinating topic. Unfortunately, it is not (and cannot be) The Ultimate Reference about that topic, because the research is still in its infancy.

It is a fascinating book. I highly recommend it.

Rating: 5/5

Addendum: I read the book, and am reading around the topic, to research for a fiction project I am hoping to write soon. My interest was piqued by a superb TV series - Lost Kingdoms of South America - which is jaw-droppingly exciting and intriguing. I would recommend watching the programme in combination with reading this book, for a more immersive experience. Sadly, one of the peoples I am trying to find out more about - the Chachapoya - is barely mentioned in this textbook. Oh well, more reading to be done!
Episodes of Lost Kingdoms of South America:

Wednesday, 6 June 2018

Book Review: Muslim Girl: A Coming of Age by Amani Al-Khatahtbeh

Muslim Girl is one of those things that seems a little hard to define. It started out as a web community and blog (on Livejournal! Remember Livejournal?), but these days, it's a Facebook page, a Twitter profile, a website, a hashtag, a column in magazines, a slogan on apparel... essentially, Muslim Girl is now a brand rather than any singular entity. It is the brainchild of Amani Al-Khatahtbeh, and now it is also a book - her autobiography.

From its scattershot, breathless introduction, to the very last page, the book zips from one thought to the next, largely without a linear path. This was a surprise: I'd vaguely expected an autobiography, possibly with a little politics and a dollop of lifestyle stuff for young female Muslims (which is more or less what I perceive Muslimgirl.com to be), but generally following the linear route that autobiographies tend to take. Like pretty much every expectation I had about the book, this was not the case.

The introduction sums up the essence of the Muslim Girl project. The first sentence:
"I'm kind of playing the game right now," I told Contessa Gayles in the bathroom of Muslim Girl's overpriced studio in Brooklyn, New York.

Then, after the name dropping (who is Contessa Gayles? Never heard of the woman) a brisk tour of post-millennium history and some of the things that sent shockwaves around Muslim communities in the West  (9/11, France's headscarf ban, the Iraq War and American atrocities against Iraqis, Trump),  followed by the final paragraph which sums up the Muslim Girl media phenomenon:
I think we've become starved for people to actually listen to us. We've become so desperate to hear our own voices above all the white noise that we have willfully compromised and repackaged our narratives to make them palatable - to make them commercial and catchy, to make them headline-worthy, to sell a story that you will find deserving of your attention. We call it playing the game, because you consuming some semblance of our truth is better than you consuming whatever else is out there, conjured by someone else on our behalf. But that's not good enough any more.

 ("White noise" ... Hah! I certainly did not expect her to use a pun...)

Reading the book was easy and pleasant enough: it's accessibly written, jumping around thoughts and little scenes fast enough not to get boring, and while it may occasionally get quite ranty, the rants rarely get to that eye-rolling stage. That said, the book did not leave me with very strong impressions or a deeper understanding of anything. My most fundamental take-away from the book is a certain envy of Amani: ten years younger than myself, she has achieved so much more, and left her mark on the world in a way that I have not. I can only take my hat off at her achievements.

I guess the second take-away is the matter of identity. I was 19 when the two towers fell. The author was 9. I'm a white, atheist male. She is an Arab Muslim. For me, world politics since 9/11 has often felt like an enormous, slow-motion train wreck: something with near-infinite momentum, with atrocities, disasters, injustice, and erosion of the liberal, multicultural values that I hold dear, and something I have been completely impotent to stop or change, no matter how many petitions I signed, protests I attended, or charities I donated to to undo some of the damage. When all is said and done, I have always been a spectator, which is, I guess, the luxury afforded to me by my visible identity. For Amani, a young Muslim girl, the geopolitical events weren't something that she could watch from outside, but something that shone a spotlight on her identity, and seemingly defined her life. I have to admit to being quite tired of identity politics, and every time someone mentions "intersectionality" I groan inwardly. The book did remind me that this is a luxury that not everyone shares, and that there are some instances where ticking many boxes in the check list of "disadvantaged groups" really does mean an accumulation of troubles.

Where the book fell flat is in the "autobiography" bit. Perhaps it's because the author is still so young that she simply hasn't lived long enough to have many stories to tell. But my suspicion is that Amani shares a quality with many Muslims: that of being essentially a private person. It's perfectly understandable (and wise, in a world where racists are emboldened), but it means that even after reading the book, I have only the vaguest notion of what her family are like, and virtually no idea who else is in her life. I might know about some instances when she was bullied, but there is very little that's personal in the book.  If you were hoping that Muslim Girl would be like a Millennial Muslim version of Caitlin Moran's "How to be a Woman" (as I must sheepishly admit, I was), then that hope, too, will not be realised.

Finally, the book made me wonder about the future of Muslim Girl. When it launched, the idea of a pop culture, lifestyle-heavy, feminist, tolerant media outlet for Muslim Girls was overdue, revolutionary, and ripe. Now, after the girlpower phase is possibly approaching its zenith, with Amani appearing in music videos and casually name dropping celebrities she's met in her first autobiography, I cannot help but wonder: will Muslim Girl grow up? Will we see Muslim Woman, aimed at the Linda Sarsour generation, perhaps a little less consumerist and hip, perhaps daring not just to "play the game" but to meet the problems Muslim women face head-on: right-wing populism, discrimination and Islamophobia in the West, genuine oppression and persecution in Persia and much of the Arab world... 

In summary: the book might not be exactly what you expect from an autobiography. It chronicles a life that has only just begun, and it shines a spotlight on how Muslims in the West are victimised by a society where racism flourishes, rather than giving in-depth, personal insight into one life, but it's short, never boring, and worth a read.

Wednesday, 30 May 2018

Book Review: The City of Brass by S.A. Chakraborty

The City of Brass is a fantasy novel about a young woman from 18th century Cairo who is drawn into adventures among the Djinn. Specifically, Nahri is a con artist of sorts, with a mysterious knack for healing and a supernatural ability to understand every language she hears. One day, while performing an exorcist ceremony on a little girl, she inadvertently comes to the attention of a hostile Ifrit. From that moment on, her life will never be the same...

The novel has a promising start. Orphan girl (well, 20-year-old-woman) living in a slum, conning rich powerful people? Nice. Djinn and zombies / ghouls and a chase across continents with a powerful but haughty djinn knight called Dara? Great. That section of the novel is rather inspired by the romance genre, it has to be said. Finally, the City of Brass itself is an impressive setting.

However, the City of Brass is certainly no utopia. Through Ali, a prince trained to be a warrior and future Qaid (think Grand Vizier) and the other viewpoint character, we see that Daevabad is every bit as brutal as 18th century Cairo. Especially half breeds and their descendants, called Shafrit, are at the receiving end of oppression, exploitation, slavery and crime. Ali, a religious zealot, would like to improve the lot of the Shafrit, but this would be a betrayal of his father, the king's policies, and could end up costing his life.

Shafrit, however, are only one segment of society. Djinns are divided into tribes (races), and there is deep seated mistrust between them. So while we follow Nahri and Dara being chased around the world, we also see that their destination might not be the safe haven Nahri is hoping for...

There are many things to recommend City of Brass. The prose is good, Nahri is a likeable protagonist, the adventures are on a grand swashbuckling scale, and the setting that ranges from Egypt to India is pleasantly exotic to Western readers.

There are also things that I did not enjoy. As the story develops, more and more focus is on the rivalry, mistrust and hatred between two djinn tribes (the Daeva and the Qahtanis). We watch Ali forced into moral compromises, and gradually learn of Dara's past. Nahri, caught between different power factions in Daevabad, has to try and get by in a Game-of-Thrones-like city of intrigue, politicking and tribalness. None of which would be terrible, but once it became clear that the different djinn tribes, and virtually all characters, are deeply racist and bigoted about each other (and even more so about the Untermensch Shafrits), the story starts to develop an unpleasant aftertaste. By the time I finished reading, the only character who was still likeable was Nahri; everyone else is basically scum.

Top marks for the start, the setting, and the initial atmosphere. Alas, the fun is soon eroded as things get ever-more murky. The book starts out as joyously swashbuckling fantasy adventure and ends up a grimdark novel of hatred, rivalry and despair. That is not a destination I wished to get to, and I doubt I will want to read the rest of the trilogy.

Rating: 3.5/5