Archive for August, 2017

PRAYERS FOR THE STOLEN by JENNIFER CLEMENT


Prayers for the Stolen is set in Mexico in the 2000s. It's about the narco-traffickers' traffic in young girls, from the point of view of a girl. This review from the guardian raved about it and I agree. I cant usually cope with such awful subject matter, especially when you know its true, these things, or things very like them really happen, but its done so cleverly that i found it was funny and entertaining without at all downplaying the horror of the reality.

It achieves this through a very clever use of point of view. It's written in the first person from the point of view of a young poor rural girl called LadyDi. This enables you to read all the very difficult material about narco-traffickers, people smuggling, guns and drugs and paedophilia more easily because it's from this naive perspective. However, LadyDi is always quoting her mother who is a very world world weary and cynical character, but very smart.

This device allows the author to make all these really funny and interesting observations about what's going on that would otherwise be out of place for a naïve young girl. As she is quoting her mother the author is able to put all these very diary and very funny world weary observations into the mouth of young LadyDi, so its full of remarkable quotes and observations and real insights about what it takes to survive in such a terrible world.

Other bookgroupers also agreed it was very well done, interesting and funny, along with horrific. One bookgrouper used the word dystopian to describe it. That is exactly right – but the book is no made-up fantasy. Clement has lived her whole life in Mexico and produces what The Guardian calls 'the new journalism'

Prayers for the Stolen, (is)…described as a novel, but that's much too simple a description for what Clement is doing with the genre. In this startling tale of a young girl abducted into the Mexican drug trade, the social history – the reality of the world from which the fiction comes – burns away anything on the pages that could feel "made up". This is like the new journalism made newer still……..

Every sentence in Prayers for the Stolen is direct, potent, unexpected; twisting on the page like a knife in the gut. Ladydi tells us about Paula, a pretty girl who, unlike all the others, has been released by her captors and is able to return home, now hollow-eyed and dead inside. Her story is the catalyst for all the girls' stories in this terrifying narrative that exposes the inexorable repetition of lives brutalised by the sovereignty and corruption of the drug cartels.

The writing is electrifying not only because of its subject matter – anyone could report the facts – or because Clement is so strong on the insider viewpoint that gives new journalism its kick, but because she is a consummate stylist who makes sure nothing is wasted. Every scene is related with her trademark concision and fastidious attention to detail, her prose a gorgeous amalgam of spoken Mexican English, prayer, repetitions, incantations and American dreck…..

So there's brightness, too, humour in the darkness of Ladydi's world – a tenderness and love that are glimpsed as possibilities of another life, like the plastic flowers and glittery tinsel decorating a roadside shrine…..

Clement's authority comes from her deep intimacy with the subject matter of her books…… and as a Mexican, the territory of her three novels is her home. For Prayers for the Stolen she spent time with the girls and women in prison whose only real crime was having once been young and pretty. When she writes: "The Santa Marta Jail in the south of Mexico City was the biggest beauty parlour in the world," it rings true because it is true. She hung out with all those daughters and girlfriends and mothers and sisters left behind by the drug barons who kidnapped them from their homes and families. Now they sit around waiting for justice that won't come, doing their hair and painting their nails and telling stories – stories that are real lives.

It was so vivid and so real – it makes you think 'of course this is what happens when might makes right, when money talks and there is no higher authority, no avenue of appeal beyond guns and money'. Its mad max, and every other post apocalyptic movie you have ever seen happening for real in rural Mexico.

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August 27, 2017 at 6:42 am Leave a comment

COMMONWEALTH by ANN PATCHETT

Commonwealth is a middle class blended family drama. The custody arrangements mean that every North American summer 6 kids from two families spend several weeks together with couple that created the whole situation, who provide next to no supervision. It's about the long-tail effects of what those kids got up to each summer in 80s on them as adults in the present day, and by implication of the behaviour of the couple. The consequences of their self-absorption.

The Guardian's review begins

Ann Patchett’s seventh novel begins in the early 1960s, at Beverly and Fix Keating’s christening party for their daughter Franny. An unexpected guest turns up, with a large bottle of gin in lieu of an invitation. Bert Cousins is a lawyer in the Los Angeles district attorney’s office; Fix Keating is a local cop. They barely know each other, but Bert wants an excuse to escape a home with three small children and a pregnant wife. With the help of Bert’s gin, everyone gets drunk and many lives are changed. Handsome Bert kisses beautiful Beverly, sparking an affair that splits and reconfigures their families. Eventually Bert and Beverly leave their spouses, marry and move to Virginia, where their six children come together each summer.

Commonwealth crosscuts between the lives of the Keating and Cousins families over the next five decades, as tragedy strikes and life unfolds. In her 20s, Franny Keating begins a relationship with the renowned novelist Leon Posen, a much older man in desperate need of inspiration for a new book. The stories she tells him of her childhood sow the seeds for his bestselling comeback, also entitled “Commonwealth”. The impact of that novel, and the secrets it reveals, spin the threads Patchett uses to stitch together the stories of 10 people: the six Keating-Cousins children and their four parents.

Most bookgroupers liked it. They appreciated that the language did not get in the way. It seemed to narrate events and give insights to behaviours of characters without ever drawing attention to itself. One bookgrouper particularly liked that the dialogue was quite surprising, and everyone agreed. it was like real dialogue in that characters rarely answered the questions they were asked directly, instead making observations triggered by the question or related to it, so their conversations moved from one related thing to the next, as they do in life.

We had an interesting discussion about whether it was a deliberate, pretentious, attempt to turn a pretty ordinary story in to ‘Literature’. It wasn't from the language perspective, as i’ve said the language did its job without being flashy or showy. However, it did do a number of other things that you could argue were deliberate attempts to flag to the prize awarding literarti that this was ‘Literature’: it was non-linear timewise and character wise; and self – reflective or ‘meta’ as some would have it.

It was non-linear time wise because it started from the end, or near it, then jumped to different moments in the history of the family that led to that point. Nearly every book that wants to be ‘Literature’ does this. It often feels quite forced, just adding confusion but no other value. However in this case it did not get in the way. Most of the book was actually in time order, apart from the beginning and the end. And the points chosen were clearly turning points. So you could argue it was ok because it didn't get in the way, it wasn't confusing. but you could also say it was entirely unnecessary, and just included because the author, a former book editor, knows that it is expected for Literature.

Similarly, as a former editor the author would know that all ‘Literature’ these days has to switch point view between different characters to show the author can ‘write’ men and women and whoever. The book is structured this way — with a section from the point of view of one character and then another. But the end most, but not all, of the main characters have had their own section. Again, while you could say its unnecessary and therefore just for show, its also done well, so it doesn't seem to be confusing or distracting. Each section is reasonably long so its not hard to follow, and as you spend time with each character it starts to explain their behaviour as related in other sections by other characters. Although I thought it wasn't entirely successful. For me the men were a little bit stereo typical, without a great depth of character, but the book ids mostly from the point of view of the women characters and they were very good.

It was self reflective in that it featured a book and film about the events described in the book, even with the same name as the book. So it's a book describing a book about itself. As i understand it, this is what some people call meta-narrative, which is very trendy in literary circles. So on this count you can definitely argue that the author was trying hard to be literary. It really wasn't necessary in the story, which is otherwise quite a well-done middle-class family drama with a few surprises here and there; some very interesting lines; and some well observed descriptions of the interactions between people. It is done well enough that it could have stood on its own in that genre without the ‘meta’ bit. Therefore the choice to include it does smack of chasing prizes.

Whether or not it was self-consciously pretentious, i think if you like middle class family dramas, especially about west coast Americans, this would not be a bad choice. However there many many such books. I'm not sure there is anything distinctive about this one.

August 5, 2017 at 7:14 am Leave a comment


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