Three strong women A novel

Marie NDiaye

Book - 2012

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Subjects
Published
New York : Alfred A. Knopf c2012.
Language
English
French
Main Author
Marie NDiaye (-)
Other Authors
John Fletcher (-)
Edition
1st ed
Item Description
"This is a Borzoi book."
Physical Description
293 p. ; 22 cm
ISBN
9780307594693
Contents unavailable.
Review by New York Times Review

Americans have a curiously limited vision of France. We may be wild about Chanel sunglasses, Vuitton handbags, Champagne or Paris in the spring, but when it comes to the kinds of contemporary French culture that can't be bought in a duty-free shop, most of us draw a blank. Luckily, this veil of benign ignorance is being lifted as publishers in the United States introduce American readers to a new generation of hugely gifted French writers who are reworking the boundaries of fiction, memoir and history (Emmanuel Carrère, Laurent Binet, the American-born Jonathan Littell) or of high art and snuff lit (Michel Houellebecq). Among the recent crop of writers just reaching the top of their game, Marie NDiaye, born in 1967 and now living in Berlin, is pre-eminent. NDiaye's career has been stellar. When she was 18, the legendary editor Jérôme Lindon (best known as Samuel Beckett's champion) published her first novel to high critical acclaim. Her subsequent fiction and plays have won numerous prizes and distinctions. (NDiaye's "Papa Doit Manger," or "Daddy's Got to Eat," produced in 2003, is the only play by a living woman to have entered the repertory of the Comédie-Française.) "Three Strong Women" - NDiaye's most recent novel - won the Prix Concourt when it appeared in 2009 and made her, according to a survey by L'Express-RTL, the most widely read French author of the year. THAT same year, NDiaye was the inadvertent cause of a national furor when a member of the French Parliament, responding to an interview in which she'd called the Sarkozy government "monstrous," suggested in an open letter to the culture minister that Goncourt laureates should be required to "respect national cohesion and the image of our country" or else remain silent. What most disturbed people about this outburst - coupled as it was with the Sarkozy government's increasingly ham-fisted policies on inner-city policing and the expulsion of immigrants - was what they saw as its unspoken assumption that as a black woman of African parentage, NDiaye should have to prove herself deserving in a way that would never be demanded of white male laureates. The expectation - whether menacing or well meaning - that NDiaye should "represent" multiracial France, or be considered a voice of the French African diaspora, has often dogged her. In fact, as NDiaye is at pains to make clear, she scarcely knew her Senegalese father, who came to France as a student in the 1960s and returned to Africa when she was a baby. Raised by her French mother - a secondary school science teacher - in a housing project in suburban Paris, with vacations in the countryside where her maternal grandparents were farmers, NDiaye describes herself as a purely French product, with no claim to biculturalism but her surname and the color of her skin. Nonetheless, the absent father - charismatic, casually cruel, voraciously selfish - haunts NDiaye's fiction and drama, as does the shadow of a dreamlike Africa in which demons and evil portents abound, where the unscrupulous can make overnight fortunes and, with another turn of the wheel, find themselves rotting in a jail cell. In "Three Strong Women," these recurring themes have become more explicit. The novel consists of three loosely linked narratives. In the first, Norah, a lawyer raised in France by a single mother, is summoned to Dakar by her Senegalese father, only to find that the cool, elegant, self-made millionaire of her youth is now a broken-down old slob who wants her to untangle the murderous family mess he has gotten himself into. In the final section, we follow the fortunes of Khady Demba, whom we first encountered as a nursemaid caring for Norah's father's most recent batch of children. Khady, now a childless widow who has been cast out by her late husband's family, finds herself joining the thousand-mile death march of clandestine migrants seeking to reach European shores. It is, however, the book's middle novella - a masterpiece of narrative ingenuity and emotional extremes - that proves NDiaye to be a wri¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿ ¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿er of the highest caliber. Rudy, a middle-aged former high school teacher, has brought his Senegalese wife and their young son home from their idyllic life in Dakar to the French provinces, where he is now eking out a precarious living selling customized kitchens to people who can't afford them. At first glance, Rudy - with his crummy hand-me-down car and the heavy mortgage on his "sad little half-done-up house"; with his itching hemorrhoids and his smooth-talking boss who may or may not be sleeping with Rudy's wife - suggests the hapless hero of a Raymond Carver story. But as we're sucked into the downward spiral of Rudy's workday and gradually learn more about the sinister sequence of events that drove him from Senegal, we realize that we have entered the head of a paranoiac worthy of Dostoyevsky's Underground Man or one of Thomas Bernhard's embittered monomaniacs - a protagonist in whom successive waves of grandiosity, self-lacerating shame and homicidal rage give way to heartbreaking instances of clarity and of compassion for the wife he has betrayed. THE novel's original title, which might more literally be translated as "Three Powerful Women," contains a gentle irony that's lost in the English version. NDiaye's heroines are, on the face of it, singularly powerless - not only were these women raised in poverty, each, "after years of austerely constructing an honorable existence" for herself, is in the process of having that life ripped apart by the folly of narcissistic family members. And yet, NDiaye shows us, each woman retains a saving core of humanity - an indestructible reserve of love, common sense or even self-mockery - that's incomprehensible to the fathers, husbands or in-laws who are putting them at risk. NDiaye is a hypnotic storyteller with an unflinching understanding of the rockbottom reality of most people's lives. This clearsightedness - combined with her subtle narrative sleights of hand and her willingness to broach essential subjects like the fate of would-be migrants to the rich North - gives her fiction a rare integrity that shines through the sinuous prose. (Slightly less sinuous in John Fletcher's occasionally stilted translation, which is a little too slow to warm up: the book's only flaw.) In "Three Strong Women," we enter the consciousness of characters who are either bordering on lunacy or at the mercy of the clearly delusional - or who, in the case of the unschooled slum-dweller Khady Demba, find themselves hard-pressed to interpret the hellish circumstances into which they have been thrown. Yet through these distorting lenses of madness and deprivation, NDiaye manages nonetheless to convey a redemptive realism about how the world works, and what makes people tick - whether it's a provincial businessman whose success lies in persuading his customers that the kitchen he's selling is just an incidental expression of his warm personal regard for them; or the resentful French widow who always finds the neighbors' children more attractive than her own; or a refugee who, robbed by border guards of all his savings, realizes that to make it through the desert to Europe's promised land, he's going to have to prostitute the woman he has vowed to protect. "Three Strong Women" is the poised creation of a novelist unafraid to explore the extremes of human suffering. Fernanda Eberstadt is the author of "Little Money Street," an exploration of Gypsy culture in the South of France.

Copyright (c) The New York Times Company [August 5, 2012]
Review by Booklist Review

Norah, a French-born lawyer, returns to Senegal on the orders of her estranged father. She sees firsthand the wreckage the tyrannical parent has rendered on the son he cherished enough to keep with him while releasing his daughters to the impoverished care of their mothers. Fanta left her life as a teacher in Dakar to follow her blond French boyfriend, Rudy, back to France, where, despite his promises, she found few professional prospects. Khady is so fixated on having a child that she neglected to appreciate her kindly husband until he died, leaving her to live with unloving in-laws until they tire of her and send her to live with a distant relative and make a new life for herself. In these three intertwining stories, NDiaye, a distinguished French author of West African heritage, offers strong character portraits, deliciously detailed with complex emotions. Fantastical elements add to the charm and appeal of these stories of immigrant women struggling to develop clear identities while subjected to the various tyrannies of relationships, culture, obligations, and expectations.--Bush, Vanessa Copyright 2010 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Three Senegalese women rely on their unshakable sense of self when faced with great disappointment in this novel from NDiaye, the first black woman to win France's Prix Goncourt. Three loosely interwoven sections tell stories of women whose struggle for self-preservation has irrevocably wounded them. When French lawyer Norah, summoned to Senegal by her estranged father, arrives, she finds her beloved brother, Sony, in jail for murder and her father grown old. In Part II, Rudy brings Fanta, his Senegalese wife, back to France. Fanta has worked hard to pull herself out of poverty, only to now find herself plunged back in when the wealth Rudy promised never materializes. In Part III, Khady, a young woman who has never heard of Europe, is kicked out by her late husband's family to go live with Fanta in France. But she falls in with a questionable man who persuades her to make the dangerous journey with him. Each woman calls upon great strength to survive amid failure and humiliation, a feat that goes unnoticed by those around them. NDiaye's quiet intelligence is made apparent by the complexity of her characters and her intuitive prose in this subtly beautiful novel. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

The African immigrant experience is personified by the women whose lives briefly intersect in this disturbing novel published in France in 2009. An attorney, Norah was raised in France after being abandoned by her Senegalese father, a controlling businessman who returned to Dakar with his preferred boy child in tow. Now a pathetic shadow of his former self, he looks to Norah for help with legal troubles. Khady, a childless widow, is forced from her in-laws' home with nothing but a handful of clothing, a loaf of bread, and the address of Fanta, a cousin living in France. Attempting the illegal trek from Senegal, Khady summons every ounce of wit and strength to endure betrayal and degradation at the hands of the weak man she desperately needs to trust. Awareness of Fanta's fate comes through the increasingly crazed interior monolog of her husband, Rudy, which appears in an overly long section of a book whose praised lyricism may have suffered in the translation. What remain are a moody, surreal atmosphere and the suspicion that these women, in their quest for identity and independence, have won a pyrrhic victory at best. -VERDICT Winner of the Prix Goncourt, Ndiaye's novel, though an emotionally difficult read, can be recommended to those who appreciate authors like Yasmina Khadra or Khaled Hosseini.-Sally Bissell, Lee Cty. Lib., Ft. Myers, FL (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

The three women personifying the complicated relationship between France and Senegal in French-born NDiaye's tripartite novel, winner of France's Prix Concourt in 2009, need all the strength they can muster as they struggle to survive. The novel opens with 38-year-old lawyer, Norah. Half-Sengalese, she was raised in France by her French working-class mother after her businessman father returned to his native Senegal, taking with him her beloved younger brother, Sony. When her once-powerful father asks her to visit, she drops everything to return to Senegal, where she finds him a seemingly broken man. Sony is in prison, charged with murdering the old man's newest wife, the mother of two small girls he keeps locked in a room with a nursemaid named Khady. Soon, Norah's Parisian live-in-lover, whom she no longer trusts, shows up in Dakar with Norah's little daughter, Lucie, and Norah is increasingly overwhelmed by conflicting pulls and loyalties. In the second section, Fanta is a Senegalese woman seen only through her French husband Rudy's eyes. Rudy's father ran a Senegalese vacation resort, possibly with Norah's father, although the timeline and specifics remain vague. A bookish intellectual, Fanta was a successful teacher in Dakar before they married, but she has moved with him to France, where she finds herself unemployable. NDiaye follows Rudy, an emotionally damaged, abusive husband (not unlike Norah's father and not unsympathetically drawn), through a disastrous day that shows the precarious position into which he has placed Fanta and their child as immigrants. The third section focuses on Khady. No longer caring for Norah's nieces and suddenly widowed after a short marriage, Khady is forced to live with her in-laws. They don't want her and pay a stranger to get her headed to France, supposedly to live with her cousin, Fanta. On the overland trip to the boat that will supposedly take her overseas, Khady faces one calamity after another. She thinks she has found a protector in a young man, but his desperation to escape Senegal proves greater than his affection or loyalty. Unrelenting in its anger, pain and sorrow, but hard to put down.]] Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

And the man waiting for her at the entrance to the big concrete house--or who happened to be standing in the doorway--was bathed in a light so suddenly intense that it seemed to radiate from his whole body and his pale clothing: yet this short, thickset man before her, who'd just emerged from his enormous house and was glowing bright as a neon tube, no longer possessed, Norah straightaway realized, the stature, arrogance, and youthfulness once so mysteriously his own as to seem everlasting. He held his hands crossed over his belly and his head tilted sideways; his hair was gray, and under his white shirt the belly sagged limply over the waistband of his cream trousers. There he stood, bathed in cold light, looking as if he might have dropped to the threshold of his pretentious house from the branch of one of the poincianas with which the garden was filled, for--it had occurred to Norah--as she approached the house staring through the railings at the front door, she hadn't seen it open to let her father out: and yet there he stood in the sunset, this glowing, shrunken man who at some point must have been dealt an enormous blow to the head that further reduced the harmonious proportions Norah remembered to those of a fat man, neckless with short, thick legs. He stood there watching her as she approached; nothing in his rather lost, rather hesitant look indicated that he was expecting her, indeed that he'd asked, even begged, her to come and see him (insofar as a man like that, she thought, was capable of requesting help of any kind). He was simply there, perhaps indeed having flitted down from the thick branch of a poinciana in whose yellow shade the house stood, to land heavily on the cracked concrete of the doorstep; and it was as if Norah had approached the railings at that instant by pure chance. This man who could transform every entreaty on his part into an appeal made to him by someone else watched her opening the gate and entering the garden. He had the look of a host who was rather put out but trying to hide the fact; he was shading his eyes despite the fading of the light that had left the doorway in shadows but for his strange, shining, electric person. "Well, well," he said, "it's you." His speech was muffled and weak; despite his mastery of the language he was tentative in French, as if the unease he'd always felt over certain mistakes that were difficult to avoid now caused his voice to tremble. Norah said nothing. She gave him a quick hug but did not hold him tight: from the almost imperceptible way the flabby skin on her father's arms shrank under her grasp she remembered how much he detested physical contact. She thought she noticed a musty smell. A smell emanating from the lush, wilting vegetation of the poinciana whose branches overhung the flat roof of the house and among whose leaves there perhaps nested this withdrawn and self-assured man ever on the alert--it pained Norah to imagine--for the slightest sound of footsteps approaching the gate at which he would take flight to land clumsily on the doorstep of his vast house with its rough concrete walls; or was it emanating--this smell--from her father's body or his clothes or his old, wrinkled, ashen skin: she couldn't say what it was, she'd no idea where it might be coming from. At most she could say that this day he was wearing, and probably always wore now, a rumpled, sweat-stained shirt and trousers that were pale and shiny and hideously baggy at the knees, either the effect of his being too heavy a bird, one that fell over each time he landed, or--Norah reflected with rather weary compassion--of his having become after all another slovenly old man, indifferent or blind to lapses of hygiene while still clinging to the forms of conventional elegance, dressing as he'd always done in white and cream and never appearing on the threshold of his unfinished house without tightening the knot of his tie, whatever dusty room he'd emerged from, whatever poinciana, exhausted by flowering, he'd flown down from. On landing at the airport Norah had taken a taxi, then walked in the heat for a long while because she'd forgotten her father's exact address and only found her way after she'd recognized the house. She felt sticky, dirty, and spent. She wore a sleeveless lime-green dress covered with little yellow flowers rather like those strewn over the doorstep under the poinciana, and flat sandals in the same soft green. And she noticed with a start that her father wore plastic flip-flops, he who had always made a point, it seemed to her, of never appearing in anything other than polished shoes in off-white or beige. Was it because this untidy man had lost the right to cast a stern or disapproving eye over her, or because, as a confident thirty-eight-year-old, she no longer worried above all else what people thought of her appearance? Whatever the case, fifteen years earlier--she knew--she would have felt mortified to have arrived tired and sweating before her father, whose own aspect and bearing never betrayed in those days the slightest sign of weakness or susceptibility during a heat wave, whereas now she couldn't care less about showing him an un-made-up, shiny face that she hadn't bothered to powder in the taxi. Telling herself, with a rather sour, rancorous cheer, He can think of me what he likes, she recalled the cruel casual insults of this superior male when as teenagers she and her sister came to see him: remarks that always turned on his daughters' lack of elegance or want of lipstick. She would have liked to say to him now, "You realize, don't you, that you spoke to us as if we were women whose duty it was to make themselves attractive, whereas we were just kids, not to mention your own daughters." She would have liked to say this to him in a flippant, mildly reproachful way, as if all that had been just a rather crude form of humor on his part, and she'd have liked her father to show a little contrition, and for them to have laughed about it together now. But seeing him standing there in his plastic flip-flops on the concrete doorstep strewn with rotting flowers perhaps knocked loose as he flew down from the poinciana on his tired, heavy wings, she realized that he no more would have understood or grasped the most insistent allusion to the nasty comments he used to make than he now cared to scrutinize her appearance and formulate a judgment about it. He had a rather fixed, vacant, distant look. She wondered then if he actually remembered having written asking her to come. "Shall we go in?" she said, slipping her bag from one shoulder to the other. "Masseck!" he shouted, clapping his hands. The icy, bluish light seemed to shine more intensely from his misshapen body. A barefoot old man in Bermudas and a torn polo shirt hurried forward. "Take the bag," Norah's father ordered. Then, turning to her, he said, "It's Masseck, d'you recognize him?" "I can carry my bag," she said, immediately regretting her words, which could only have offended the servant, who, despite his age, was used to bearing the most awkward burdens, and so she passed it to him so impetuously that, being taken unawares, he tottered, before recovering his balance and tossing the bag onto his back, returned into the house with it, stooped over. "When I last came," she said, "it was Mansour. I don't know Masseck." "What Mansour?" her father asked with a suddenly wild, almost dismayed look that she'd never seen before. "I don't know his surname, but that Mansour, he lived here for years and years," said Norah, who felt herself slowly gripped by a nauseating, stifling feeling of discomfort. "It was perhaps Masseck's father, then." "Oh no," she murmured, "Masseck is far too old to be Mansour's son." And since her father seemed increasingly bewildered and even close to wondering whether she wasn't deliberately trying to confuse him, she quickly added, "Oh, it really doesn't matter." "You're mistaken, I've never employed anyone called Mansour," he said with a subtle, condescending smile that was the first manifestation of his former self: however irritating that tiny, scornful smile, it had always warmed Norah's heart; it was as if, to this conceited man, it mattered less to be right than to have the last word. For she was certain that a diligent, patient, efficient Mansour had been at her father's side for years on end, and that even if she and her sister had come to this house scarcely three or four times since they were children, it was Mansour whom they'd seen here and not this Masseck, whose face she didn't recognize. Once inside, Norah noticed how empty the house was. Outside, it was now quite dark. The big living room was dark too, and silent. Her father switched a lamp on, the kind that uses forty-watt bulbs and lights poorly. Nevertheless it revealed the middle of the room and its long, glass-topped table. On the rough-plastered walls Norah recognized the framed photographs of the holiday village her father had owned and run and which had made him rich. He took much pride in his success, and always allowed a large number of people to live in his house. Norah had always thought that this wasn't so much because he was a generous man but because he was keen to show that he could provide his brothers, sisters, nephews, nieces, and sundry other relatives with free board and lodging. As a result, whatever time of day she happened to be there, Norah had never seen the living room empty. There were always children on the sofas, sprawling belly up like well-fed cats, men drinking tea and watching television, and women moving to-and-fro between the kitchen and the bedrooms. But that evening the room was empty, harshly exposing the crude materials used in its construction, the shiny floor tiles, the cement rendering on the walls, the narrow window frames. "Isn't your wife here?" asked Norah. He picked up two chairs from the big table, moved them closer to each other, then changed his mind and put them back again. He switched on the television, and then turned it off before it had time to light up. He moved about the room without lifting his feet, so that his flip-flops scraped the tiles. His lips trembled slightly. "She's away traveling at the moment," he mumbled finally. Oh, Norah thought anxiously, he can't admit she's probably left him. "And Sony? Where's Sony?" "Likewise," he said, exhaling. "Sony's off traveling too?" The thought that her father, who'd had so many wives and children, that this not particularly handsome but brilliant, clever, quick-witted, and ruthless man who'd been born into poverty but made his fortune, and had since then always lived surrounded by a grateful and submissive crowd, that this spoiled individual now found himself alone and perhaps abandoned, fed a hazy old grudge that Norah harbored in spite of herself. It seemed to her that her father was at last being taught a lesson he should have learned much earlier. But what sort of lesson? It made her feel petty and base, thinking that. For even if her father had always kept an open house to spongers, even if he'd never had any true friends, honest wives (with the exception, Norah thought, of her own mother), or loving children, and if now, old, ravaged, and probably much diminished, he wandered alone around his gloomy house--how was that justice served? What kind of satisfaction could that be for Norah, except that of a jealous daughter avenged at last for never having been welcomed into her father's inner circle? And feeling petty and cheap she now also felt ashamed of her hot, damp skin and her rumpled dress. As if to atone for her spiteful thoughts, by confirming he wouldn't be left alone for too long, she asked, "Will Sony be back soon?" "He'll tell you himself," her father murmured. "How can he, if he's away?" Her father clapped his hands and shouted, "Masseck!" Small yellow poinciana flowers fluttered down from his neck and shoulders onto the tiled floor, and with a swift movement he crushed them under the toe of one of his flip-flops. It gave Norah the intimation of his doing likewise to the flowers, rather similar, covering her dress. Masseck came in pushing a cart laden with food, plates, and cutlery, and proceeded to lay the table. "Sit down," her father said, "and let's eat." "I'm going to wash my hands first." She found herself adopting the tone of peremptory volubility that she never used with anyone but her father, the tone intended to forestall his attempt to have Masseck, and before Masseck Mansour, do what she insisted on doing herself, insisted out of an awareness that he so hated seeing his guests perform the slightest labor in his house, thereby casting doubt on the competence of his servants, that he was quite capable of saying to her, "Masseck will wash your hands for you," without for a moment imagining that she would fail to obey him as those around him, young and old, had always done. But her father had hardly heard her. He'd taken a seat and was staring vacantly at what Masseck was doing. She found that his skin was now blackish, less dark than before, and dull looking. He yawned, his mouth wide open, not making a sound, just like a dog. She now felt certain that the sweet fetid smell that she'd noticed at the threshold came both from the poinciana and from her father's body; in fact his whole person seemed steeped in the slow putrefaction of the yellowy-orange flowers, this man who, she remembered, had worn none but the chicest of perfumes, this haughty and insecure man who'd never wished to give off an odor that was his own! Poor soul, who'd have thought he'd wind up a plump old bird, clumsy flying and strong smelling? She walked toward the kitchen along a concrete corridor lit imperfectly by a bulb covered in fly specks. The kitchen was the least commodious room in this badly proportioned house, as Norah remembered, having added it to the inexhaustible list of the grievances against her father, though knowing full well that she would mention none of them, neither the serious ones nor the less serious, and that, face-to-face with this unfathomable man, she could never summon up the courage--which she possessed in abundance when far away from him--to express her disapproval; and as a result she was not at all pleased with herself but, rather, very disappointed, and all the angrier for bowing and daring to say nothing. Excerpted from Three Strong Women by Marie NDiaye All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.