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Beyond the Rice Fields (2016)

af Naivo

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651402,564 (3.4)10
The first novel from Madagascar ever to be translated into English, Naivo's magisterial Beyond the Rice Fields delves into the upheavals of the nation's past as it confronted Christianity and modernity, through the twin narratives of a slave and his master's daughter. Fara and her father's slave, Tsito, have been close since her father bought the boy after his forest village was destroyed. Now in Sahasoa, amongst the cattle and rice fields, everything is new for Tsito, and Fara at last has a companion. But as Tsito looks forward to the bright promise of freedom and Fara, backward to a dark, long-denied family history, a rift opens between them just as British Christian missionaries and French industrialists arrive and violence erupts across the country. Love and innocence fall away, and Tsito and Fara's world becomes enveloped by tyranny, superstition, and fear. With captivating lyricism, propulsive urgency, and two unforgettable characters at the story's core, Naivo unflinchingly delves into the brutal history of nineteenth-century Madagascar. Beyond the Rice Fields is a tour de force that has much to teach us about human bondage and the stories we tell to face--and hide from--ourselves, each other, our pasts, and our destinies.… (mere)
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I discovered this novel in a rather roundabout way. Beyond the Rice Fields is said to be the first novel from Madagascar to be translated into English (and it isn’t even written in Malagasy, it’s written in French), and it comes from a small American publisher called Restless Books. (It had 60-odd books to its name on the day I looked). I’d been reading an article entitled ‘There’s more to homegrown African literature than what Western publishers favour’ at a site called Quartz Africa, which was on about ‘Afropolitan’ authors writing ‘African Books for Western Eyes’:
Books like Chimamanda Adichie’s Americanah and Half of a Yellow Sun, Teju Cole’s Open City, Taiye Selasi’s Ghana Must Go and Yaa Gyasi’s Homegoing have confounded neat divisions between Western and African literary traditions. The Cameroonian novelist Imbolo Mbue captured a million-dollar contract for her first book, Behold the Dreamers. That’s even before it joined the Oprah’s Book Club pantheon this year.

(All of which I’ve bought for the TBR, except for the last one, which I hadn’t heard of). But there’s criticism of these highly successful authors:
Far from advancing narratives with deep roots in local African realities […] many of Africa’s most “successful” writers hawk a superficial, overly diasporic, or even Western-focused vision of the continent.

Well, I’m in no position to have an opinion about that, except to say that I’ve tended to enjoy books more when they were written by African authors living in any of the 54 countries in Africa rather than from a university in the US or UK. But (as my reviews show) there are exceptions. A good book is a good book whatever its derivation IMO. But I was very interested to see the books that were named as part of an entire new body of African writing that escapes this closed circuit of damning truisms. And I’d read or read reviews of, or had on the TBR some of the suggested young and adventurous African writers.
*Jennifer Nansubuga Makumbi’s Kintu (Uganda), on the TBR
*Fiston Mwanza Mujila’s Tram 83 (Congo), see my review
the first ever Burundian novel in English,
*Roland Rugero’s Baho! on the TBR
the translation from the Portuguese,
*Jose Eduardo Agualusa’s A General Theory of Oblivion, (Angola) (See Stu’s review at Winston’s Dad) and
*(newly purchased as a result of reading this article) Beyond the Rice Fields by Naivo (Naivoharisoa Patrick Ramamonjisoa) from Madagascar.
So, I set about reading Beyond the Rice Fields expecting great things from its young and adventurous writer…
To read the rest of my review please visit https://anzlitlovers.com/2018/04/03/beyond-the-rice-fields-by-naivo-translated-b... ( )
  anzlitlovers | Apr 2, 2018 |
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Personer/Figurer
Vigtige steder
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Every time I watch the fampitaha, my heart aches, and I can see Sahasoa again, where I spent the first years of my life with the people under the sky.
Citater
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Ranaka was not so unscrupulous as to deviate from the ancestors' principles: 'You must not judge the stranger with his yellowish face, but think of his family on the other side of the earth.' Remember that, children: every person from far away carries in him the sacred virtues of his own kind, and thus deserves respect.
White men's beliefs were reshaping our lives and communities, down to the deepest bedrock.
I was and was not a slave. I'd paid an undivided piaster, but it wasn't a symbolic amount, it was hard-won money that I'd earned and deserved. And I never would have been able to "prove my worth" to Andriantsitoha if he hadn't already decided, long before, deep in his soul, that I could be admitted within the community one day.
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The first novel from Madagascar ever to be translated into English, Naivo's magisterial Beyond the Rice Fields delves into the upheavals of the nation's past as it confronted Christianity and modernity, through the twin narratives of a slave and his master's daughter. Fara and her father's slave, Tsito, have been close since her father bought the boy after his forest village was destroyed. Now in Sahasoa, amongst the cattle and rice fields, everything is new for Tsito, and Fara at last has a companion. But as Tsito looks forward to the bright promise of freedom and Fara, backward to a dark, long-denied family history, a rift opens between them just as British Christian missionaries and French industrialists arrive and violence erupts across the country. Love and innocence fall away, and Tsito and Fara's world becomes enveloped by tyranny, superstition, and fear. With captivating lyricism, propulsive urgency, and two unforgettable characters at the story's core, Naivo unflinchingly delves into the brutal history of nineteenth-century Madagascar. Beyond the Rice Fields is a tour de force that has much to teach us about human bondage and the stories we tell to face--and hide from--ourselves, each other, our pasts, and our destinies.

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