Breath, Eyes, Memory

(Critical Survey of Contemporary Fiction)

Edwidge Danticat is a name anyone who appreciates serious, well-wrought fiction would do well to continue watching for. Her first novel, BREATH, EYES, MEMORY, is a marvelous literary achievement, calling to mind the debut of Carson McCullers, whose classic THE HEART IS A LONELY HUNTER was published when she was just twenty-three.

While BREATH, EYES, MEMORY is very much a Bildungsroman—a novel about growing up—Danticat writes with the confidence of someone who has put much thought and work into developing her craft. She controls the pace of her narrative and scenes quite well. More strikingly, she renders dialogue superbly, using paragraphing and elision to excellent effect.

The novel is the story of Sophie, first a twelve-year-old girl in a Haitian mountain village, later a young woman living with her mother in New York. In a masterstroke of self-discipline, Danticat leaves the book’s obvious backdrop—recent political events and largescale immigration by Haitians to the United States—almost completely implicit, making only the most gently glancing of references. In contrast, UNDER THE BONE by Anne-christine d’Adesky suffers by its failure to walk the fine line between literature and political advocacy. (On events from the headlines, two nonfiction books are strongly recommended: THE RAINY SEASON: HAITI SINCE DUVALIER [1989] by Amy Wilentz, and the forthcoming BEYOND THE MOUNTAINS: THE LEGACY OF DUVALIER by Mark Danner.)


(The entire section is 528 words.)