Top critical review
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3.0 out of 5 starsYou may enjoy this if...
BySarah Bon December 5, 2016
Will you like it?
1. Do you enjoy magical realism? (E.g., One Hundred Years of Solitude) I'm not just referring to magical elements in a realist setting--many genres meet this definition. One specific feature I've noticed is a tendency to digress into long, epic tales of myth and history, either of the main character's family, or the regional mythology. Some readers will love these flowery, romantic and often violent tangents, and others may see them as a distraction from the main story.
2. What's your tolerance for a meandering plot? In the case of The Original Dream, "plot" is a very loose concept. The narrative alternates between Maya's real life and her dreams, with her dreams often spanning several consecutive chapters. I often found that the dreams' plots were more straightforward than her real life, much of which is spent in stream-of-consciousness rumination. Maya admits that she has always preferred stories with no beginning and no end, and we can take this as a cue from Amal that we should not expect a neat, traditional plot arc. For most of the book, the writing was so good that I was okay with little plot, but it did wear on me. Amal is such a fantastic writer than whenever she delved into the mundane reality, I loved it and wanted more. A hilarious, evocative conversation between co-workers, a touching bonding scene between Maya and her newborn nephew, a tantalizing hint of forbidden romance. I kept aching for Amal to return to these elements of real story--she could obviously pull off a traditional story if she wanted to. The fact that her preference instead is to lose herself and the reader in layer upon layer of symbolism, philosophy, identity deconstruction, etc, may appeal to some and grate on others.
3. How much does the artistry of writing matter to you? I can't finish a book if I'm not captivated by the language, if I don't admire it and recall it later in the day, when I'm at the supermarket or dealing with a screaming toddler. This book does that for me--Amal's language shattered some glass pane in my head, and overwhelmed me with a tidal wash of imagery I'd never experienced before. For me, this saved the book. If language isn't extremely important to you, and plot is, I wouldn't recommend it. I look forward to reading more of Amal--hopefully she veers a little toward Rushdie, or one of the magical realists who manage to layer myriad plots in along with the psychedelic magical journeys.
Here's one of my many favorite swatches of writing. It's also an example of how Amal can belabor a single idea in a way that some will love and some will hate:
"Have you ever felt, O Maia, that in truth you are a merry-go-round horse, an irritating bandage on your finger that won't come off, a clown seeking a circus, a point not yet on the line, a baby chick who thinks it's a baby duck, last night's coffee, a drug-flavored donut, a corpse on a condolence call, a glass about to break, a fish in an aquarium, a Neanderthal? A spore-partying poisonous mushroom? Veiled, dreamless, edgeless, dream of a woman."