All tagged first-person narrative
Certain stories resonate in history. Specific people become fascinating characters lodged in the minds and hearts of a nation; their feats become a part of culture. Yet, often these fictions fail to realistically reflect the history; over time characterizations and backgrounds shift. This is especially true for famous historical figures who left no written records, many of them women and people of color. Such has certainly been the case with Lewis and Clark’s Corps of Discovery, particularly with regard to the young Shoshoni woman who accompanied them for most of their journey. Even the spelling of her name—Sacagawea (derived from Mandan for “Bird Woman”) or Sacajewea (from her native Shoshoni meaning “boat-launcher) is uncertain. And yet, she was a woman with a voice, even if written history fails to capture any of her actual words. Debra Magpie Earling’s The Lost Journals of Sacajewea (May 2023) provides her a voice and a story in a spectacularly crafted novel that provides Sacajewea with her own journals, in an answer of sorts of the famous Journals of Lewis and Clark.
Valentino and Sagittarius are two novellas, both by Italian modernist, Natalia Ginzburg, translated from their original Italian. Both novellas are told in first-person, from the perspective of a young adult woman, an insignificant daughter. Both include parents with seemingly unrealistic expectations for one of the narrator’s siblings. Both come to life in post WWII Italy as they grapple with the theme of disappointment and generational divides.
Just like the ceaselessly falling rain, unusual even in Scotland’s wet climate, there is something eerie from the start in Sarah Moss’s Summerwater (2020). It was a similar feeling to that aroused by the opening scene of bog sacrifice in her Ghost Wall (2018). Both begin with scenes that portend harm, that set an ominous tone. And yet, there is also something so everyday about so much of the human experiences and interactions in Moss’s slight books. Something so recognizable takes form amid her characters. It is that tension—the foreboding and the mundane—that make her books so compulsively readable. The reader wonders, will she go there, will it get that dark, that startlingly disturbing; it is not until the final pages that the reader can grapple with answers to such questions.
Somehow it took me all these years to find my way to Zora Neale Hurston’s beautiful love story Their Eyes Were Watching God (1937), but it was well worth the wait. Their Eyes Were Watching God incorporates the vernacular speech patterns of southern Blacks with poetic prose to create a powerful story.
J. R. Thorp’s debut novel, Learwife (2021) is a lyrical, internal monologue of King Lear’s widow during some undefined point in British medieval history. The novel opens as news of Lear’s death, and that of his three daughters, reaches a convent in northern England. Here, amidst the stone walls and industrious lives of the nuns, resides the estranged wife of King Lear who slowly unravels her story while she grieves the family she had already lost. Thus, Thorp’s Learwife begins where Shakespeare’s tragic King Lear concludes and provides the missing queen’s perspective through her memories and her grief.
Nuala O’Connor’s brilliant, moving, and yes, delightful, NORA: A Love Story of Nora and James Joyce (2021) gives today’s readers a first-person narrative through which to meet and admire Nora Barnacle Joyce. From her own perspective, O’Connor’s Nora shares details of her life with legendary James Joyce, from courtship, to shared self-exile, parenthood, chronic illness, literary success, and, ultimately, death.
