Helen Oyeyemi4.1 Playful, ambitious, and exquisitely imagined, What Is Not Yours Is Not Yours is cleverly built around the idea of keys, literal and metaphorical. The key to a house, the key to a heart, the key to a secret—Oyeyemi’s keys not only unlock elements of her characters’ lives, they promise further labyrinths on the other side. In “Books and Roses” one special key opens a library, a garden, and clues to at least two lovers’ fates. In “Is Your Blood as Red as This?” an unlikely key opens the heart of a student at a puppeteering school. “‘Sorry’ Doesn’t Sweeten Her Tea” involves a “house of locks,” where doors can be closed only with a key—with surprising, unobservable developments. And in “If a Book Is Locked There’s Probably a Good Reason for That Don't You Think,” a key keeps a mystical diary locked (for good reason).
Oyeyemi’s creative vision and storytelling are effervescent, wise, and insightful, and her tales span multiple times and landscapes as they tease boundaries between coexisting realities. Is a key a gate, a gift, or an invitation? What Is Not Yours Is Not Yours captivates as it explores the many possible answers.
Петина Гаппа3.5 The story you have asked me to tell begins not with the ignominious ugliness of Lloyd's death but on a long-ago day in April when the sun seared my blistered face and I was nine years old and my father and mother sold me to a strange man. I say my father and my mother, but really it was just my mother.
Memory, the narrator of The Book of Memory, is an albino woman languishing in Chikurubi Maximum Security Prison in Harare, Zimbabwe, where she has been convicted of murder. As part of her appeal her lawyer insists that she write down what happened as she remembers it. The death penalty is a mandatory sentence for murder, and Memory is, both literally and metaphorically, writing for her life. As her story unfolds, Memory reveals that she has been tried and convicted for the murder of Lloyd Hendricks, her adopted father. But who was Lloyd Hendricks? Why does Memory feel no remorse for his death? And did everything happen exactly as she remembers?
Moving between the townships of the poor and the suburbs of the rich, and between the past and the present, Memory weaves a compelling tale of love, obsession, the relentlessness of fate and the treachery of memory.
Солмаз Шариф0.0 Solmaz Sharif's astonishing first book, Look, asks us to see the ongoing costs of war as the unbearable loss of human lives and also the insidious abuses against our everyday speech. In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family's and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed in America's invasions of Afghanistan and Iraq, and in the discrimination endured at the checkpoints of daily encounter.
At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. "Let it matter what we call a thing," she writes. "Let me look at you."
