Set in the Soviet Republic of Turkmenistan during the final years of the USSR, The Tale of Aypi by Ak Welsapar focuses on the lives of the inhabitants of a small Turkmen village on the banks of the Caspian Sea. As the story begins, the sleepy fishing village has recently been informed by the central government that everyone is to be relocated to a nearby urban center so that their land can be used for the construction of a new hospice.
In the author’s preface to Flock of Brown Birds, Ge Fei writes of his response to those who have told him that they do not understand the work: “I don’t blame you. I’m not sure I understand it either.”
Straightforward comprehension is, however, far from the point in this slight novella. Self-consciously inspired by the work of Borges and Kafka, Flock of Blown Birds functions to some extent as obscure allegory, but most closely resembles a dream in its circular logic and narrative inconsistencies.
A novel with a title like Pyre is unlikely to have a happy ending. Nevertheless, the journey towards this inevitable outcome delivers a disturbing insight into human bigotry and brutality whose application extends far beyond the novel’s treatment of inter-caste marriage in contemporary Tamil Nadu.
Well-researched and devastatingly beautiful, Madeleine Thien’s Do Not Say We Have Nothing is an ambitious book that articulates the reverberating impact of totalitarianism in communist China, as well as the transforming power of friendship and humanity.
One of the rewards of running a book review publication is the unexpected surprise that appears out of the blue. One of these is Filipina writer Catherine Torres’s recent collection Mariposa Gang and other stories. The ten stories in this slim volume—a mere 100 pages—are polished, accomplished and structurally sophisticated. Laconic, Torres can say a page in a paragraph. Her characters are human, their circumstances and dilemmas painfully recognizable and real.