One World: A Global Anthology of Short Stories. Oxford: New Internationalist, 2009.
Reviewed by Simona Hevešiová
In: Ars Aeterna - Art in Memory, Memory in Art, Vol. 1, No. 2 / 2009, ISSN 1337-9291, pp. 121-2.
This ambitious anthology published by New Internationalist unites the writings of twenty three authors coming from fourteen different countries. Some of them, like the Pulitzer Prize-winning writer Jhumpa Lahiri or the internationally acclaimed Chimamanda Ngozi Adichie, are probably well known by readers all over the world. Some names might be new but are nonetheless equally talented. Despite such a wide range of authors whose stories, naturally, discuss diverse topics, the whole collection speaks with one voice. It is a powerful voice that cannot be overlooked nor ignored.
One of the most impressive stories included in the collection is Kelemo’s Woman written by the Nigerian writer Molara Wood. It presents a moving story of Iriola, whose life is determined by her lover’s political activism. The story challenges our notions of fidelity and self-esteem when one is faced with the question of survival. The title of the story stresses Iriola’s position right from the beginning – she is deprived of her name, i.e., of her identity. She is defined as an obedient companion of her dominant partner who is actively involved in the present political turmoil of their country. As Iriola says: “My role in the struggle ahead was mapped out for me. I knew the drill. I would support as the loyal partner to the courageous, self-sacrificing activist.” (p. 22)
Molara Wood employs vivid imagery in order to create impressive parallels between the country and Iriola – both fighting for survival. The opening scene depicts Iriola’s and Kelemo’s lovemaking which is interrupted by the sound of Newsflash announcing the coup d’état. The private and the public mingle uncompromisingly; the intimate sphere is violated once again. The deformed and blurred images of deserted towns occupied by soldiers, produced by the old television set, reflect Iriola’s fatigue. For four years she has been living a “dicey, precarious life” to which she was “vicariously sentenced” (p. 20).
Yet, there are moments when Iriola wonders how it would feel to be her own woman. Recalling her mother’s deathbed wish, she decides to take her life in her own hands. The price to be paid for her liberation and independence is, however, too high. Since it cannot be achieved without a humiliating submission to other men, Iriola’s victory at the end is rather pyrrhic.
Similarly, Growing My Hair Again written by Chika Unigwe presents a story of another strong and intelligent woman. Following the murder of her abusive husband, Nneka has to take part in a mourning ritual overlooked by her domineering mother-in-law. Yet the procedure, requiring an ostentatious emotional involvement, contrasts deeply with her true feelings. The marriage, in which Nneka had to submit to her violent husband and suppress her personality, belongs to the past now and she savors her newly-gained freedom. The subdued emotions finally erupt in an uncontrollable explosion of laughter which marks the beginning of a new era in her life.
A large number of the narratives depicts human struggles for survival in difficult financial times: Ovo Adagha’s story Homeless provides a touching portrayal of a family that is forced to move into a slum. A demolition deprives them even of their dilapidated shack and leaves the family helplessly on the street. In Leng Lui is for Pretty Lady Elaine Chiew introduces the life story of Alina, who is working as an amah for a rich Honk Kong couple. Separated from her family, Alina has to cope with her abusive employers. Since the loss of the job is out of question, she is not able to defend herself and thus has to cope with their inappropriate behaviour.
Other stories discuss issues of alienation (both cultural and personal), identity, maturity, initiation, or assimilation. It is quite interesting that most of the stories are written as first person narratives, thus manifesting the oral traditions of these countries and contributing to the mysterious effects of storytelling.
Despite the unique experiences and cross-cultural differences among the involved countries, the anthology succeeds in eliminating the borders between them by joining the narrative voices in unison. The introductory words of Ovo Adagha and Molara Wood support this intention: “[…] regardless of our differences or the disparities of our stories, we are united by our humanity.” It is obvious that the stories in the collection have been chosen with great care, and they will surely resonate in the reader’s mind long after the reading is finished.
