Skip to main content

Review 34: The Long Song by Andrea Levy

The Long Song
I’ve read a few books dealing with black slavery as part of this challenge. It’s interesting how each one looks at it through a slightly different lens, adding slightly different perspectives to the whole picture.

In The Long Song, the thing that rings as much through the book as the horror and inhumanity of slavery is the sense of humour between the slaves themselves. It felt odd to laugh out loud while reading this, but there are plenty of times I did. I guess that this in itself is important – humour is an essential and universal human trait, so if we deny the slaves’ humour in recounting their stories, maybe it’s another way of denying their humanity all over again. I tried rewriting this about five times to make me sound less like a pseudo-intellectual jerksack, but this is the best I could do, I’m afraid.

Anyway, TLS is set in a Jamaican sugar plantation in the early 19th century, and spans the periods just before and after slavery was abolished in the British Empire, following the life and trials of July, a young slave (and then freewoman).

One of the key points of the book seems to revolve around the telling of stories. As I’ve mentioned in other reviews, the oral tradition of storytelling was staple in black culture. Levy really neatly contrasts this between the slaves, who embellish their stories to make them more enjoyable and unbelievable to hear told and retold, and their white masters, who twist the truth into forms they find more palatable and believable in line with their worldview. The overall message is one that the truth can never truly be found when it’s constantly under human reinterpretation – and that we should challenge our preconceptions of what this period was like.

Since the book’s being narrated by July herself, it’s also interesting to see white people through her eyes. Much as white people write two-dimensional black character through a lack of cultural understanding, so July struggle to understand white behaviour in-depth. And how could she not, when the minor annoyances of the white masters are set against the deep miseries endured by slaves?

So there’s a lot of depth to the writing – but nonetheless, it feels light, easy and pleasant to read. That in itself is quite an achievement, and there are plenty more here besides. I really enjoyed it.

--

This is my thirty-fourth book review of 100 to raise money for Refuge, the domestic abuse charity. If you liked this review, or just want to help out, please donate on the link below!

JustGiving - Sponsor me now!

Comments

Popular posts from this blog

Review 5: Gulp - Adventures on the Alimentary Canal by Mary Roach

When it comes to the works of Mary Roach, this ain’t my first Roach-eo - I’ve previously read and been entranced by Stiff , her foray into the world of corpses. But I still wasn’t expecting to like this book quite so much as I did. It’s one of the most enjoyable reads I’ve had for a long time. Gulp is a hotchpotch journey down the alimentary canal - the big vacuum cleaner bag that runs from our mouths to our exit wounds. Roach isn’t writing a medical textbook here though. She follows the stories of things that sound interesting, or gross, or (regularly) both, so you end up with quite a lot of stuff that’s tangentially-related rather than a tube-by-tube account of your inner passages. And that’s all for the betterment of the book. Here are a few facts and amusing asides I noted down during reading: Fabric softener works by slightly digesting the fibres of your clothes, using the same enzymes as in your guts. Painting restoration workers often spit on swabs to take layers...

Review 8: Eileen by Ottessa Moshfegh

I sincerely believed that if there were less of me, I would have fewer problems. This pretty much sums up Ottessa Moshfegh’s Eileen . The titular protagonist is a sort of anti-heroine, but without the swagger that word tends to conjure. Instead, she has been raised in a loveless home, and has never had friends. She hates her town, her family and most of all, herself. Her misanthropy springs from the world’s rejection of her, rather than the other way around. Moshfegh says that she wrote Eileen as an experiment, following a paint-by-numbers guide to commercial fiction. But the Man Booker shortlisted novel comes out as anything but conventional. It’s more a masterclass in characterisation – light on plot, but heavy on unreliable narration, building Eileen’s miserable day-to-day existence up until the character slouches fully off the page. It’s a really sad and well-observed depiction of how women can internalise hatred. Eileen is disgusted by her own body. She refuses to w...