John Crow's Devil by Marlon James

Hardcover, 226 pages Pub September 1st 2005 by Akashic Books Original Title John Crow's Devil ISBN13: 9781888451825

Religion, corruption, promiscuity, sodomy, violence, bloodshed, humor, terror, betrayal, redemption, salvation. These are the subjects of Marlon James’ work, particularly this debut novel about a town in Jamaica in the midst of a preacher war. Go no further if reading about these things will affect your judgment of what is art and what is not. We all have our limits, and James is happy to play right to the edge.

There is no Table of Contents in this novel, and midway through, we may find we need a roadmap. Where is James going, and how did we get here? That is when I noticed he began this book, before Part I, with “The End,” three pages which confused and frightened and warned us what was to come. A “murder of crows” hangs around the yard of one Widow Greenfield until one day she discovers many of them lifeless and bloody on the grass in front of her house.

When author Kaylie Jones was contacted twenty minutes after Marlon James won the International Man Booker Prize for Literature in 2015 for A Brief History of Seven Killings , she said that acceptance and affirmation for him was a long time coming. Jones is credited with “discovering” James, passing his first manuscript for John Crow’s Devil on to an agent and an editor back in 2003. She was sure of James’ talent from that first time they met. “His writing was so confident. There was not one word that wasn’t precise. That voice was already there.”

The manuscript that eventually became John Crow’s Devil had famously been rejected 78 times before Ms. Jones saw his potential. James was 35 years old when it was finally published in 2005, his first novel. That means James was in his twenties when he wrote it, and this is the thing that slays: a twenty-something with shuttercock eyes writing sentences like

"Her mother was on the dresser, her sweaty back greasing the mirror as the man rammed inside her. Lucinda imagined his cock as stubby as he was plunging in and out of her mother’s vagina that was as loose as she was. Then he shifted and she saw it for a second, his penis disappearing into her mother and his jerky balls bouncing like elastic."

There is more than a little aggression in that passage, and an exactitude one isn’t expecting. But the whole book has this level of keen observation and imagination, speaking of forbidden things, blasphemies, and essentially…reporting, judging, laughing. Some of the horror and anger and judgment manifest are probably even nonfiction.

Two preachers fight one another over the ‘godly’ leadership of a town. One man is an alcoholic, and the other appears possessed. Both of them struggle with sexual temptations; neither fits any usual definition of godly, or good men. The townspeople, filled with the superstitions of their culture as well as warm natures mixed with hard-eyed realism, carol an absurdist relief, making comment upon one another’s needs, or sometimes jettisoning their good sense altogether under religious influence.

In an interview, James tells Charlie Rose that at this time in Jamaica he hadn’t yet publicly acknowledged his homosexuality but considered himself “Christian celibate…and believing it.” Only when he subsequently moved to St. Paul, Minnesota to teach writing, and when he was forty-four years old, did he acknowledge his sexuality. There is a lot, a whole lot, of explicit language and description of sexual acts, only some consensual, in James’ novels, but he appears to capture something that we recognize as real, even if we prefer not to look at it. “Violence should be violent,” he tells us, “Sexuality should risk the pornographic. It’s a fine line.”

Marlon James writes conversation in dialect, perhaps one reason his first book was not accepted immediately. Now, of course, dialect seems the most basic effort one can make to represent a culture. But James also manages the difficult feat of keeping readers unsure if they know what exactly is happening without them losing the thread altogether, or giving up. His storytelling definitely leads readers in the direction of some kind of reckoning for evil, thoughtless, or uncaring behaviors, no matter what the preachers, with their contrasting styles, have to say. The murder of crows and the flight of doves are both menacing, and vengeful. But the ending, in a two-page chapter called “The Beginning,” is reassuring. This novel feels brave, unflinching, and new.

And if you are still unconvinced about James' creativity, read this about his new project and then tell me he isn't looking deeply into the myths we tell ourselves, and exposing all.



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Caught by Lisa Moore

“Slaney had to believe there was a connection between people. He had to believe trust was pure too. It was worth fighting for. He trusted Hearn. He could say that out loud. It would be better that way. And he had no choice. Trust lit up on its own sometimes without cause, and there was no way to extinguish that kind of trust.”

Lisa Moore has an unusual writing style. There is an untutored quality to her writing that feels unique and unpracticed. It makes this reader slow down, and read more thoughtfully. There is no formula. The things Moore chooses to highlight in her writing somehow lead readers down the rabbit hole of associations and one is drawn into her fiction almost against our will.

In this novel, the young man Slaney escapes from his jail sentence for importing narcotics into Newfoundland and seeks out his former partner for another swing at the piñata. If writers write about what they know, the reader can’t help but wonder which side of this story Lisa Moore knows most about—the drug running or the law enforcement side. She makes it into a spine-tingling story, with a young man evading the law following him at every turn.

We have a slightly queasy feeling in the beginning, knowing our man means to try his hand at drugs again, despite having lost four years of his twenty-five to the inside. We know early on, too, that the police know his whereabouts and are allowing him to think himself free. Then there is the title, about which, even halfway through, we are still not sure. We want to suspend belief. We come to admire our man Slaney. He is so focused, dogged, and somehow pure in his devotion to an idea.

“It was the certainty that satisfied some desire in the audience. The best stories, he thought, we’ve known the end from the beginning.”

This novel has been shortlisted for Canada’s largest literary prize, the Scotiabank $50K Giller Prize, and for the 2013 Rogers Writers’ Trust Fiction prize. Moore had been Giller-nominated twice previously, for Open (2002) and Alligator (2005). Her 2010 novel February, about the Ocean Ranger oil rig disaster on Valentine’s Day 1982, was long-listed for the 2010 Man Booker Prize and won the 2013 Canada Reads award.

This year’s Giller Prize jury features Margaret Atwood, Esi Edugyan, and Jonathan Letham, and the other shortlist novelists are Dennis Bock (Going Home Again, HarperCollins); Lynn Coady (Hellgoing: Stories, House of Anansi Press); Craig Davidson (Cataract City, Doubleday Canada); and Dan Vyleta (The Crooked Maid, HarperCollins). The winner will be announced on November 5, 2013.


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Brief Encounters with Che Guevara by Ben Fountain

”…I had no idea God and the Devil live so close together. They’re neighbors, in fact, their houses are right beside each other, and sometimes when they’re sitting around with nothing to do they play cards, just as a way to pass the time. But they never wager money—what good is money to them? No, it only souls they’re interested in…[Che Guevara in Brief Encounters...]”

Che Guevara never actually makes an appearance in these stories—just sightings of him—but his philosophy gets a workout. Sometimes events just have a way of confounding even a well-thought-out life, where every step is taken with good intentions toward some worthy goal.

Moral dilemmas face us in each of the eight stories and Fountain does not make it easy for us. The characters may decide to do something morally questionable, but their conflict is not resolved sufficiently to finish the task without second-thinking and regret. There is always another, starker moral dilemma right around the corner as a result of their first choice.

This first collection of stories won Fountain a heap of attention in 2007 when it came out, as did his first published novel, Billy Lynn's Long Halftime Walk (2012). His writing is clear and free of flourish, though his locations are richly imagined. In this collection he spans the globe, though he pays special attention to Haiti, a place that allowed him to explore in microcosm “power and money and history and race and the most brutal sort of blood-politics.”¹ The Haiti stories make me the most uncomfortable in this collection, yet it is the one place he’d visited and so arguably knows most about.

The stories highlight displaced persons confronting the world’s troubles: a woman is forced to share her soldier husband with his dreams; a captured American doctoral student in Colombia manages to continue his ground-breaking study of birds of the Central Cordillera; a peacekeeper in Haiti finds a way to save a piece of Haiti’s cultural heritage; an aid worker in Sierra Leone tries to finance her sideline sewing co-op.

A word might be said about the final story in the collection, which moves us back to the nineteenth-early twentieth centuries. The story is about a Jewish prodigy in Vienna facing racial taunts as she develops her extraordinary repertoire over a period of years. The tone of this story is so sharply different from the others in the collection that we must ask ourselves why it was included. The language is reminiscent of George DuMaurier’s story of Svengali and his creation, the beautiful songstress Trilby O’Ferall. This story would not have been out of place in a Maupassant collection. It may give us an insight into the author’s opinions on the dilemmas he poses in the previous stories. In all the interviews he’s given, I’ve not seen a question about the inclusion of that story addressed, though I might rest easier if I had.

It turns out that I discovered I have read this collection before, when it came out in 2007. At the time I was not recording or writing about my reading and so did not wrestle as thoroughly with the questions it poses. It stands up very well to a second reading (and more!) so I recommend the collection for packing the punch of a novel without all the words. Besides, this man’s moral compass spins in a world that challenges the best of our well-thought-out and perfectly inadequate solutions.

¹”A Conversation with Ben Fountain”, reprinted in the Ecco paperback edition of Brief Encounters with Che Guevara, P.S., p.3


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An Innocent Millionaire by Stephen Vizinczey

I was attracted to Vizinczey by the title of his first book In Praise of Older Women but thought the title of this book appropriate to the world we now live in. An Innocent… is a big comic novel, first published in the early 1980s, and has more stomach-dropping twists and turns than the big ride at the carnival. There is good in the world ”but evil is stronger,” says a lawyer late in the action. Whether or not the author agrees is still a question, for the open warfare between good and evil continue to the very last page.

Businessmen and lawyers take most of the heat in this novel, which makes it seem almost quaint considering what Americans have learned about the financial field since then. While businessmen poison their neighbors and lawyers manage to fleece clients and double-cross their peers, it is still puppy-doo compared with what realtors and investment bankers have managed to accomplish in the new century. We learned to be critical of big business and lawyers, but were blindsided by our bankers.

But of the writing: there is so much here of human nature and human foible that it is funny at the same time it is painful. Big sections are devoted to massive injustices in the world, but they never distract one from the hand-to-hand combat of interpersonal relations that comprise most of the story. Thanks to the author’s foreshadowing, one sees disasters before they arrive, but one never anticipates the next little bit the author throws at one after that. I can’t really tell you much about this book because even a sketch gives much away, but it begins with a young man seeking sunken treasure, surely a delicious thought…







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White Woman on the Green Bicycle by Monique Roffey

The excitement of discovering this book was one I have not felt for years. It is all the things great literature should be: it shows as well as teaches; it is recognizable but fresh; it is on some level profound; it is memorable. The book is written in dialect, and it was a revelation to me to see phrases written down that I’d only ever heard. It added much to the general impression of the first section of the book as a stage play. And a wonderful, rich, funny, tragic stage play it would be.

The cover copy of White Woman… says it is a love story, and so it is. But this is the story of a love affair with a country, and with a people, as well as love between two married people. Just as one recognizes the ups-and-downs in a marriage, the love affair with the country follows the same pattern—lavish love, and lashing pain. Sabine, the main character, describes her early love of George, her husband, in the following way:

Our courtship was very swift. We won each other, you could say. We were each other’s prize. People liked us, we were one of those couples; other people enjoyed having us around. Parties were gayer when we were there. Others basked in our happiness, envied our devotion. We brought out the potential in each other. George, in those days, gave me the experience of being at my best, moments, hours, days, a long period of complete happiness.”

“We brought out the potential in each other.” This is the way I always thought love with another person could be—a state where one is something more, something better, when the other person is by one's side. The story takes place in Trinidad over a period of fifty years. Sabine and George come as representatives of a British shipping company, and find a way to live and love through the rise and fall of politicians promising more for locals, less for foreigners.

In an interview, Roffey tells us she did a lot of research before she began to write. The tight narration of the political scene in Trinidad during the 1960’s and 1970’s does much to enhance our interest in the concomitant lives of Sabine and George. One comes away feeling one has witnessed history--and that we share that history. The book has connected us to the Trinidad, a “landscape parading it’s fertility, a banquet of eccentric delicacies.”

Monique Roffey is not really a newcomer: this is her second novel, which became a nominee for The Orange Prize, one of the United Kingdom's most prestigious literary prizes, annually awarded to a female author of any nationality for the best original full-length novel written in English, and published in the UK the previous year. Roffey’s first novel, Sun Dog, was published in 2002 by Scribner. Sun Dog, set in South America, employed magic-realism, and was warmly received by critics. My guess is that it may show us the early promise of this accomplished novelist.




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