12/20/08 Iweala, "Beast of No Nation"

What I have found most intriguing about the novels we have read this semester has been the use of language each author has used. With every text, there have been small nuances in word choices, word order, and the overall voice of the author. Gabo’s poetic style, Roy’s child-like rationale, and Rushdie’s political-fueled magical realism are all unique to the respective authors, but what makes them especially interesting to me are the English translations within the texts, or even the ways the authors might approach writing the texts to perhaps appeal to a more American audience. Solitude may not be a great example, because the translations were done beautifully, but even then, how are we to know the true text when words, phrases and elements might have been lost in translation? Emily and I talked briefly about this after class last week in regards to Persepolis. However, I find Persepolis to be a special exception, because it is a graphic novel. Though the wording may change in translation, the picture element still tells the story—this point can be made for either the graphic novel or the film.

Iweala’s Beasts of No Nation is ingeniously written. Although an American born author, Iweala’s African heritage really plays to his favor. His use of language is very compelling, if not a bit difficult to comprehend at times. Though I have read novels in which the narrator tells the story in the present, Iweala’s approach is much different. His broken English adds to Agu as a character, making the text even more haunting. It almost reminds me of Roy’s writing, in a sense. Since the main character/narrator in Beasts is a child, it should only make sense for him to speak in a way he knows how, not how the reader expects him to speak.

A very strong read, so far.