Ben Jackson
Well-known member
Akwaeke Emezi's second novel published in 2020 (after her much acclaimed Freshwater), this novel, set in South-Eastern Nigeria, follow the eponymous character whose life's narrated through the eyes of those around him before his unfortunate tragedy's narrated by those around him. Raised by a distant father and understanding but over protective Indian mother, Vivek suffers moments of disconnection between the self and environments and blackouts, and growing to adulthood, Vivek finds friendship with daughters of Nigerwives (foreign born women married to Nigerian men). But his deepest friendship is with his lively and worldly cousin Osita. As Osita struggles to understand Vivek's heightening crisis, the novel reveals heart stopping act of violence and exhilarating freedom.
With the narrative taking place in 1998, Emezi weaves past and post-death present of Vivek, with social issues by exquisitely crafting characters who are searching for freedom in an extremely conservative society. I had read Under the Udala Trees few years ago (similar in themes), but this novel's better in the sense that this novel employs a more cinematic approach (if the sky was stack of photographs), establishing visual sense permeating the permeating as well as foreshadowing the essence of photographs that'll become a crux in the lovel, and the mystery aspect (Emezi was influenced by Marquez's Chronicle of Death Foretold and Toni Morrison's Love). Another beautiful aspect of the novel's the fluid and reliable language which's endlessly inviting (it was the clearest terror and pleasure I had ever known). It's a book that's very accessible but can raises great discussion (did the scar on Vivek's ankle a sign of reincarnation of his grandmother who died on the day Vivek was born signify he was going to die untimely?). Another beautiful aspect of the novel is it's narrative switch from third person to first person, and even though the death of Vivek's mentioned very early in the novel, one still has to keep on reading the book to get a complete picture. Emezi also highlights violence against freedom (the religious and tribal violence against death of Sani Abacha, echoed in the novel when Vivek's father tells Vivek that the death of Sani Abacha "is a new day for Nigeria, a new day for all of us. Vivek imagines that as the country's heading towards democratic elections, his sense of freedom might receive acceptance from those around him), and Emezi also draws a contrast between older generation who views sexual liberalism (in this case homosexuality and lesbianism), as something of " existential oddity in itself" and the younger generation--- the generation of Vivek-- whose views are far more accepting and progressive from their perspective. Highly acclaimed (some has called it a future classic), this is a very good novel, IMHO, and surely recommend.
With the narrative taking place in 1998, Emezi weaves past and post-death present of Vivek, with social issues by exquisitely crafting characters who are searching for freedom in an extremely conservative society. I had read Under the Udala Trees few years ago (similar in themes), but this novel's better in the sense that this novel employs a more cinematic approach (if the sky was stack of photographs), establishing visual sense permeating the permeating as well as foreshadowing the essence of photographs that'll become a crux in the lovel, and the mystery aspect (Emezi was influenced by Marquez's Chronicle of Death Foretold and Toni Morrison's Love). Another beautiful aspect of the novel's the fluid and reliable language which's endlessly inviting (it was the clearest terror and pleasure I had ever known). It's a book that's very accessible but can raises great discussion (did the scar on Vivek's ankle a sign of reincarnation of his grandmother who died on the day Vivek was born signify he was going to die untimely?). Another beautiful aspect of the novel is it's narrative switch from third person to first person, and even though the death of Vivek's mentioned very early in the novel, one still has to keep on reading the book to get a complete picture. Emezi also highlights violence against freedom (the religious and tribal violence against death of Sani Abacha, echoed in the novel when Vivek's father tells Vivek that the death of Sani Abacha "is a new day for Nigeria, a new day for all of us. Vivek imagines that as the country's heading towards democratic elections, his sense of freedom might receive acceptance from those around him), and Emezi also draws a contrast between older generation who views sexual liberalism (in this case homosexuality and lesbianism), as something of " existential oddity in itself" and the younger generation--- the generation of Vivek-- whose views are far more accepting and progressive from their perspective. Highly acclaimed (some has called it a future classic), this is a very good novel, IMHO, and surely recommend.