Mahindan was flat on his back when the screaming began, one arm right-angled over his eyes.
This isn’t a particularly uplifting story. Reading is escapism, isn’t it? Unless you never have any media-intake that won’t be the case with this novel. The subject is a three-step ladder of contemporary news: racism in politics, war zones and (boat) refugees.
These three angles are showcased through the points of view of different people: a refugee, the people helping them, and those that need to make sure that no refugee brings danger into the country (Canada, in this case). It’s easy to view the latter as the villains of this piece: they start out with a negative angle and won’t be swayed. But in today’s society it would be naive to act like that negative angle hasn’t landed on fertile land, and what does that say about us?
The same can be said from the ‘good’ immigrants that lament these refugees for not doing immigration “the right way”. We all need thoughts to comfort us, so who’s to blame for acting upon them?
Of course, nothing happening in this novel will make you think: yes, let’s deny every refugee asylum, yay! but it very much shows the booby-trapped labyrinth immigration and asylum (laws) have become. With an all too human face to it, on all sides.
The Boat People, Sharon Bala, McClelland & Stewart 2018
I strain to listen for boots on the pavement.
Looking back after having finished this novel I realise how naive and privileged it is of me to have thought “well sometimes she’s exaggerating a bit”. Something about how we are doomed to repeat history if we don’t learn from it, etc.
In this case the lesson is ‘Do not imprison innocent people for the sole reason that their religion, skin colour and/or ancestral background is different from yours’. Shown in the Second World War, the States did it with Japanese Americans, and Samira Ahmed does it a few decades later with American Muslims. Because in Internment a president – very alike of the one the USA has right now – comes in power, and he’s much more effective in getting his racist ideas turned into actions. American Muslims are put into camps on American soil.
And just like before, there are plenty euphemisms going around. None can cover up that the camp is surrounded by barb wire, that every guard has a weapon and that any sign or sound of protest is violently taken down. Here comes my conclusion from the first paragraph in: isn’t this put down all a bit too extremely? I should know better. We all should.
It’s good that the novel is less than 300 pages, because there’s no escaping the terror the characters are put through. Not just the mental and physical torture; also the shock of seeing how fast people get used to it. Again, as we should know.
All this makes for a bitter pill that as many as possible of us should swallow.
Internment, Samira Ahmed, Little, Brown & Company 2019
The first time Caesar approached Cora about running north, she said no.
Watching the series Underground, The Knick and than reading this book, gives you a triangle of black American history. If you’re not a complete dunce, you can recognise that these three are slavery-related, because that’s a large part of black American history. And as I often ask myself with books about ugly subjects; why should you read it? Don’t we know already?
This time the underground railroad to the saver surroundings up north is really an underground railroad, but that doesn’t make an escape easier. Main character Cora is followed through different states and escapes, and even when it looks safe, it doesn’t mean it is. Sometimes the violence against black people is written down so detached, it’s easy to believe all the slavery-wasn’t-horrible stories some people still try to taut. Only for this author to proof them wrong, again and again. This book isn’t just about the violence, it’s about the impact on human lives.
The railroad gives it a slightly fantastical shade, but an escape is an escape, whatever way used. Sometimes the author veers off a little in style, rails to a dead end, but Cora’s story needs to be seen through.
And if people know already, even about South Carolina, even about the mass sterilisations, maybe they can just pass this story on for those that don’t.
The Underground Railroad, Colson Whitehead, Doubleday 2016
Waarom je Michael Moore’s stem moet dulden en vooral niet te comfortabel worden over ‘ha, wij zijn tenminste de VS niet’. Want oké, zover bekend gebruikt de Nederlandse overheid leegstaande wijken in arme steden niet als militair oefenterrein, qua politiek gekonkel en bewuste oogkleppen is er genoeg op te pikken van de man’s meest recente documentaire.
Daarnaast wordt ook duidelijk dat niet al het Amerikaanse nieuws onze media treft. Dat heeft zeker zijn voordelen (de VS is tenslotte niet het belangrijkste land van de wereld, ga weg met je westen-centrisme), maar daardoor mis je ook dingen waardoor het net iets minder lekker achterover leunen is.
In deze docu/film laat Michael Moore zien hoe Trump de Amerikaanse president kon worden, en dat dat zeker niet alleen door de ‘arme, witte, boze burger’ was, maar ook door de complete stupiditeiten van de tegenpartij. En corruptie en racisme en andere gezellige dingen.
Geen idee waarom Pathé deze op zaterdagavond had ingepland (leuk weekendvermaak?), maar wel weer een gevalletje ‘beter weten dan onwetend de vernietiging in’.
Fahrenheit 11/9, Baircliff Entertainment 2018
I was tethering the cows out by the pond when a boy came into our pasture saying that Father Cléophas himself want to see me tout suite in the morgue.
And even based on true events, although I have to admit that the note from the editor(s) and shared background information took away from the story, for me anyway. I could have not read them, of course.
The story here is how two slaves on Martinique are sent to another island to bring back the slaves the French Fathers think they own while the island is English now. Sounds like nothing could go wrong, right? Nothing fishy at all at sending two slaves to silently invite slaves to move islands.
Lucien and his brother Emile are the ones that are tasked with this, and Lucien is the one telling the story of these few days. He does so in a mix of English, French and Creole, which works well with their surroundings and situation.
The only gripe I have with the story only being about this one event, is that as the reader you feel slightly dropped into someone’s lives and left behind when you (probably) only want to learn more. Maybe Jane Harris should have gone with a bit more creative freedom there. But what she writes, she writes appealingly.
Sugar Money, Jane Harris, Faber & Faber 2017
I shouldn’t have come to this party.
This one is probably going to be relevant for a long time coming, and that’s why I’m unsure how to go about this. As one of the blurbs on the back of the book says, everyone should read it, maybe especially if it makes you uncomfortable, but how do I put into words why you should read it?
Maybe because it gives a face to Ferguson, to Black Lives Matter, to Flint and all the other cases in which it’s easy to think of an entity, instead of a collection of individuals. Starr is one of the few black people on a very fancy school, which makes her feel like she’s living two versions of herself. When she witnesses a shooting, it’s harder to keep those two apart.
But it’s not just Starr’s story. It’s her family, her community and the endless attempts of being heard and seen as people, instead of thugs, low-lives, useless. Angie Thomas balances that impressively, and even though there are rough patches to get through, you’ll be so attached to the people you’re reading about, that you just take it.
And again, definitely a book I would have rather seen in my YA Literature class than another white boy story.
The Hate U Give, Angie Thomas, HarperCollins 2017
In 1895, two decades after his state moved from the egalitarian innovations of Reconstruction to an oppressive ‘Redemption”, South Carolina congressman Thomas Miller appealed to the state’s constitutional convention: we were eight years in power.
We Were Eight Years
in Power isn’t a beach read. Ta-Nehisi Coates’ previous one
had glimpses of light between all the rubble, but no such thing this time around. This time Coates has his bludgeon ready, and weighed it down with centuries of pain, abuse and inequality.
Because that’s what this book is, a collection of essays and articles in which is shown – again and again – how black people were mistreated by American authorities ever since they set foot on American soil. No, Obama didn’t create a post-racism society; there’s too many centuries of white supremacy and the ignoring of white guilt before his time. And well, just look at who’s in the White House right now.
It’s the kind of history lesson you probably don’t get in school, but if you want to join in on the conversation, you should be reading along.
We Were Eight Years in Power, Ta-Nehisi Coates, Penguin Random House 2017
Afterward, he tried to reduce it to abstract terms, an accident in a world of accidents, the collision of opposing forces – the bumper of his car and the frail scrambling hunched-over form of a dark little man with a wild look in his eye – but he wasn’t very successful.
And the prize for Most Depressing Book read in January goes to.
The tortilla curtain is the border between Mexico and the USA. The Tortilla Curtain is about the people on that thin line that just want to have a comfortable life, but are prevented from having it by paranoia, racism, and society. The one side is simply much more privileged than the other, but don’t let that fool you into thinking they could have an easier life (add a note of sarcasm here).
I had to read this one for school, because we’re doing a course called Aspects of the USA and well, racism definitely is one.
The book’s well written, luring into supporting one side until everybody just shows how ugly their thoughts and prejudices are. The one side is just allowed more, under the guise of honesty and worry. It’s over twenty years old, but the story can definitely be retold today.
The Tortilla Curtain, T.C. Boyle, Bloomsbury 1995
Mae Mobley was born on a early Sunday morning in August, 1960.
There was a book before the film. And yes, this is another one for college. Also another one I prefer over The Catcher in the Rye.
It’s the segregation years of the sixties in the USA. White women are housewives, black women are housemaids. They are expected to do everything, but are rewarded by little to no appreciation and always have being fired hanging over them. The majority of them are little more than paid slaves, which is something that Skeeter also discovers when she comes up with the idea to write the stories of housemaids. It doesn’t land well with a lot of people.
In the book there’s not just Aibileen’s point of view, but also Minny’s, and Skeeter’s. With the first two the reader gets two different minds and views on the same subjects, while Skeeter is the alien out.
The Help is such an easy read that when the uglier subjects pop up and disasters happen, it almost shocks you out of the pale pastels and superficial happiness everyone seems to abide by.
I expect I have to read it for the vocabulary used, I read it to discover if it was less coddling than the film. It was.
The Help, Kathryn Stockett, Penguin Group 2009
Aren’t there documentaries with happy/happier subjects? Of course there are, but isn’t a documentary supposed to educate? About things that may not be a day-to-day subject for a lot of people? I think 13th is smack right on that with it being about the USA prison system and how black people suffer from it.
This isn’t an emotional appeal, this is layers and layers of facts and numbers and statistics showing how authorities use everything in their power to control the minority population. How there’s no equality in punishment for the same crime, how there’s no fairness and that believing in the system is more than naive, it might be lethal.
It’s the strength of the people featured that prevent you from completely circling down the drain of ‘Is this really society’. People that keep speaking up, that keep fighting, the Davids to the many-headed Goliath.
Ignorance is not an argument. Know what’s wrong.
13th, Netflix 2016