From Publishers Weekly
Lilting Jamaican dialect, bits of poetic singsong and stories from creation mythology permeate the narrative of Douglas's ambitious first novel, which fluidly combines the stories of several Jamaican women. The initial narrator, Bella, a shapeshifter, establishes the tone: "In the beginning there was laughter, but to hear a woman's laughter, one must first hear her sorrow." Successively in the first person, the voices of others emerge: "lopside" (malformed) Ida, born in 1920, who recounts the tortuous life's journey that led to her incarceration in a mental hospital; nine-year-old Gracie, whose family must leave her behind in Jamaica when they finally get visas to "'Merica"; Gracie's "mamsie," Muriel, who scrapes a hard living as a cleaning woman in New York; Claudia, who volunteers at Ida's hospital in order to find her mother, Lucy, who abandoned her as a baby; and Mrs. Cummings, an aged neighbor of Gracie's who sits on the verandah of her house, waiting to die. Douglas skillfully establishes the tenuous connections among these characters (e.g., Gracie waves at Ida through the gates of the asylum), who all share a spiritual connection with the names of flowers (Ida's hospital is the Periwinkle Garden; Madam Fate is the name of the deadly bush that Gracie promising to bring Mrs. Cummings). While she wraps up the small mysteries in satisfying fashion (Who is Claudia's mother? What was Muriel's schoolmate Andrea's previous identity?), Douglas tires the reader in shifting back and forth between so many unidentified voices. There are compelling and poignant moments of storytelling?most notably, Muriel's angry, well-defined monologue addressed to Gracie?that are lost amid the profusion of characters relating the circumstances of their lives.
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
Douglas has written a dandy, atmospheric novel of women's connections to the spirit world and to one another. Set in Jamaica, the story is steeped in a rich amalgam of Ashanti, Afro-Cuban, voodoo, and other folk traditions and the incantations, charms, and symbols associated with them. The women narrators, all of whom are connected by "the laughter like beads on a string," call forth reserves of strength and fearlessness despite the odds against them. They're also intimately connected by their hypersensitivity to elements of the natural world. As each narrator evokes the voice of a previous narrator while adding to the tale, all of the stories intertwine: Bella narrates Jamaica's creation story; Ida resides in an asylum called the Garden; and Claudia visits the asylum in search of the mother who abandoned her as an infant. Some readers may stumble over the book's vernacular and phrasing, but it is well worth the effort to try to grasp both. A story that tickles the senses and delights the imagination.?Lisa S. Nussbaum, Euclid P.L., OH
Copyright 1999 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.