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Distinctively and splendidly adventurous, romantic, historical, and funny, ranging from the harrowing slum of Katakoumbay to the comforts of the developed world, this collection of stories investigates the complexities of human relationships. The language is contemporary and often unrelenting. The book is a timely exposé on the joys and disillusionment of post-independence Africa and the Caribbean. A Suitcase Full of Dried Fish and other stories is written from the viewpoint of characters replete with emotion and stinging dialogue. We read about the secrets of online dating; the trial of a migrant; a polygamous household; a rebel leader; an air steward; a teacher-pupil relationship; the fears of sickness; and a glimpse of the afterlife.
A Suitcase Full of Dried Fish and Other Stories is written from the viewpoint of characters who believe that in the midst of adversity, much can be achieved with resilience, and much can likewise be lost where there is no forgiveness. Distinctively and splendidly adventurous, romantic, historical, and funny.
A Haunting New Collection Of Short Stories From One Of India S Most Acclaimed Writers Shashi Deshpande, In Her New Collection Of Short Stories, Explores A World Darkened By The Despair And Unhappiness Of Women Trying To Break Out Of Pre-Defined Roles. There Is The Newly Married Protagonist Of The Title Story, Whose Self-Respect And Sense Of Self Are Violated By Her Crass And Insensitive Husband; The Wife Who Finds Herself Involved In An Affair Because Of Her Husband S Indifference; The Mother Who Tries To Forge A Relationship With A Hostile Daughter&. These And Other Stories In This Collection Serve To Reaffirm Shashi Deshpande In Her Reputation As A Writer Of Acuity And Compassion.
Paper Kingdom and Other Stories consists of a novella and three short stories. All are set in Mozambique during the 1950s and 60s, when the country was in the final decades of Portuguese colonialism. Paper Kingdom follows the life of a young Chinese girl, Estrela, from girlhood through to adulthood, her relationship with her siblings and parents, and her growing need to break free from the expectations placed upon her. The novella ends with her reconciled to the new Mozambique emerging from the effects of colonial rule. Paper Kingdom is followed by three stories, each of which, focuses on the attempts of Chinese women and girls to kick against the restrictions of traditional patriarchy and family pressures requiring them to conform. Some of them are stuck in abusive relationships, often stemming from arranged marriages, and seek to find paths to freedom in desperate, and often misguided ways. The contradictions of colonialism, and these characters' interaction with the colonial regime, form a backdrop to the stories: the Chinese in colonial Africa, like other Asian groups, were a buffer between the European ruling minority, and the Black African majority. Their relationship with both colonizer and colonized is hinted at through episodes of racial prejudice and hostility of which they are both victims and perpetrators, thus contradicting the colonial power's rhetoric of racial integration and inclusivity. But the emphasis in all these tales is on the inner lives and memories of these diasporic Chinese families, and the community to which they belonged. Within this community, traditional Chinese beliefs and superstitions are maintained, occasionally adapting to and interacting with local African belief systems, thus providing the poetic underlay of the stories, with elements of magical realism. The collection also shows that this community is riven by family animosities and jealousy, social difference, all of which threaten its coherence as its very future in Mozambique is placed in doubt with the end of Portuguese rule.
Ladies of the Night is set in Toronto and Antigua. With women's loves and lives as their focus, the stories contain dramatic twists and turns: some humorous, others shocking and disturbing, all leaving a haunting melody behind. The Toronto stories capture the issues women face as they walk the ground of intimate and family relationships in that city. The Antiguan setting of some of the stories are reflective of Prince's insight into relationships, captured in her novel and essays. The characters reveal their different ways of managing a range of struggle, pain, rage, love and pure unadulterated joy. The humour of some stories complement the plaintive sadness and emotionality of the strings some other stories pluck.
The variety of Derryl G. Berry’s imaginative short stories and intriguing essays make for delightful and entertaining reading in short spurts or extended time. Read a few short works while waiting for the bus, like “The Key to Her Heart” and “Wood Chucking” and “Pretty Like Mommy” or “Late for Lunch”. Or take more time for a longer work before bedtime, like “The Thanksgiving I Almost Exploded” or “You Don’t Know Fear” or “Chasing Shadows, Chasing Us” or “Saved by the Cell”. You might enjoy to matching opinions with Derryl and some of his essays. Try “The Blue Tree” or “How Did We Get to Be Different?” or “Consider the Kingfisher” or “Educate Against Crapspeak” or “Freedom to be Fools”. But beware, some might keep you awake thinking. Do you believe time travel is possible? Read Derryl’s opinion in “Time Travel Is Not Possible”. You could find that some of Derryl’s poems will pluck your own heartstrings. Maybe “She Passed by Him” or “Butterfly Madam” or “I Will Leave You in the Echoes” or “You Kept Me Awake Last Night” or “Today I Drank the Wine”. A few might just make you chuckle or say, “Hmm, well yeah, maybe.” One or two of Derryl’s Flash 55 Fiction might do the same.
A memoir in short stories, Starting from Loomis chronicles the life of accomplished writer, playwright, poet, and actor Hiroshi Kashiwagi. In this dynamic portrait of an aging writer trying to remember himself as a younger man, Kashiwagi recalls and reflects upon the moments, people, forces, mysteries, and choices—the things in his life that he cannot forget—that have made him who he is. Central to this collection are Kashiwagi’s confinement at Tule Lake during World War II, his choice to answer “no” and “no” to questions 27 and 28 on the official government loyalty questionnaire, and the resulting lifelong stigma of being labeled a “No-No Boy” after his years of incarceration. His nonlinear, multifaceted writing not only reflects the fragmentations of memory induced by traumas of racism, forced removal, and imprisonment but also can be read as a bold personal response to the impossible conditions he and other Nisei faced throughout their lifetimes.