A poignant, revealing, and rueful tale of how much the political can affect the personal.
Old-fashioned romance and street-level crime are woven into a coming-of-age saga set amid the political turmoil of early 1990s Nigeria.
The title of Ishola-Ayodeji’s captivating debut novel is something of a double-entendre, as it refers to both the heroine’s first name and her vexing state of being. Patience Adewale is an 18-year-old U.S.–born Nigerian student living in the city of Ibadan with her stern, domineering, and politically influential father, who demands two things of her: that she get her accounting degree from the University of Lagos and that she stop asking him (or anybody else) about the specific whereabouts of her birth mother, Folami, whom he banished to America. Growing up wealthy, sheltered, and insulated from the grimmer realities of Nigerian society, Patience believes her true destiny has been to make and design clothes in the U.S. and is willing to do whatever it takes to locate her mom and fulfill her ambition. She arrives in Lagos convinced that she won’t find what she wants in a classroom and instead makes her way to the seamier side of town to reconnect with Kash, her ne’er-do-well cousin, who engages in petty crimes with his roommate, Emeka. They share their living space with Emeka’s handsome, smarter brother, Chike, an upstanding, hardworking motorcycle taxi driver unable to find work worthy of his university degree in petroleum science. Chike is far more interested in Patience (and the feeling is mutual) than he is in pulling scams with his brother. Yet Emeka and Kash persuade Patience and Chike to help them separate a million Nigerian naira (about $2,400) from a local bank with a phony check. Though Chike’s dead-set against the plan, a wary-but-game Patience overcomes her own jittery reservations and carries out the masquerade required of her for the con, so badly is she wanting to leave home. (“The irony,” she reflects at one point, “needing to do something unlike herself to actually find herself.”) But one big score isn’t enough for Kash and Emeka, and as both Patience and Chike become more exasperated in their efforts to realize their dreams through conventional means, the deeper involved all four become in bigger and riskier illegalities. All this personal struggle takes place within the backdrop of the 1993 presidential election aimed at setting Nigeria on course for a democratic government after years of military rule. Ishola-Ayodeji is deft, shrewd, sometimes witty, and always observant about the social, economic, and political obstacles to Nigerians wishing only to live honorably and decently.
A poignant, revealing, and rueful tale of how much the political can affect the personal.Pub Date: May 3, 2022
ISBN: 978-0-06-311691-7
Page Count: 384
Publisher: HarperVia
Review Posted Online: March 29, 2022
Kirkus Reviews Issue: April 15, 2022
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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