Lucy Popescu

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Posts Tagged ‘Alison Anderson’

Book Review Checkpoint

Posted by lucypopescu on August 2, 2017

There is a filmic quality to Jean-Christophe Rufin’s literary thriller, expertly rendered by translator Alison Anderson. Set during the Bosnian War in 1995, Checkpoint follows the fortunes of five French aid workers. The youngest, 21-year-old Maud, the lone female in the group, has cut her hair short and wears shapeless clothes, in an attempt to be taken seriously and to repel any unwanted advances. Lionel, the leader of the mission, lacks confidence and smokes weed from morning to night. Former soldiers, Alex and Marc, recruited because convoy drivers are in short supply, have their own secret agendas. Vauthier is the most sinister and repugnant member, hired for his skill as a mechanic, who the others suspect of being a spy: “He always looked as if he were in a bad mood, probably because of his thin lips and drooping eyelids. But his little black eyes were in constant movement searching everywhere, and they were all wary of him.”

The tensions between Vauthier and the two soldiers threaten to derail the mission and reach crisis point, when it transpires that Alex has spiked the load with construction explosives for extracting coal. His objective is to help a group of refugees hiding in a mine – the explosives will stop the tunnels from flooding and help preserve their industry. It is Maud who manages to persuade the other volunteers that it is a worthwhile endeavor, and “the most useful thing we can give these people.” But there are further revelations to come. The soldiers at each checkpoint become increasingly menacing, and they are all shocked to witness the aftermath of a brutal massacre of women and children:

On the damp earth there were fifty bodies or more, lying in grotesque positions. Their arms and legs were twisted, their heads lay at a painful angle from their necks, some had their faces in the mud. On the gray mass of bodies, most of which were clothed in dull, drab garments, the only color was that of blood. 

The frequent plot twists keep the reader guessing until the end, but this is at the expense of robust characterization. Vauthier, in particularly, remains a shadowy figure whose visceral hatred for Marc is never fully explained. Their backgrounds and reasons for joining the mission are revealed through passages of clunky exposition: We learn that Maud is a risk-taker, when she recalls a childhood memory of jumping off the adult diving board and fracturing her vertebra. Alex’s feelings of alienation are a result of his mixed race background and the reason why he falls for a young Bosnian refugee ostracized because of her ethnicity. Marc’s tough exterior is down to being a “war orphan” and bullied at school. At times, Rufin’s characters feel too simplistic, their motivations implausible, and this makes it difficult for us to feel sympathy for any of them.

In the novel’s second half, the pace never lets up and Rufin raises some interesting questions about the limitations of humanitarian aid. As a founder of Doctors Without Borders, Rufin clearly wants to lift the lid on this world. He understands the futility of taking chocolate and clothing through a war scorched land when another form of international intervention is desperately needed to halt the bloodshed. The Bosnian War may be long over, but Rufin’s concerns remain just as relevant today.

A longer version of this review is published on


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Book review – The Man Who Snapped His Fingers

Posted by lucypopescu on February 8, 2016


imgresFrench-Iranian Fariba Hachtroudi’s English language debut is a profound, exquisitely crafted novella about life under a merciless regime, about torture and resilience, truth and culpability and the triumph of love over fear.

Two survivors of a totalitarian state, “the Theological Republic”, meet in exile, somewhere in northern Europe. A former colonel, Ala had been one of the Supreme Commander’s inner circle, “in charge of security in penal institutions” including the notorious prison ironically named “Heaven”. The Supreme Commander could be any number of despots operating today but the parallels with Hachtroudi’s homeland are obvious and the similarity in English pronunciation between Heaven and Evin – Tehran’s main prison – seems more than coincidental.

Ala has been living in limbo for five years, awaiting news of his asylum application. His only friend is Yuri, a fellow “fugitive”, from Russia. Ala is desperate to be reunited with his beautiful astrophysicist wife but until he is granted refugee status and documents that allow him to work, she cannot join him. If he is sent home it is to certain death.

Vima is a victim of the regime. Known as “455”, she is famous for having remained unbroken, despite enduring the most horrific torture, described in spare, unrelenting prose. Her husband Del had been a terrorist suspect, Vima the bait. But she refused to betray him. Now the tables are turned. The Colonel is reduced to a nameless number while Vima works as a translator at the Office for Refugees and Stateless Persons. Vima recognises the Colonel’s limp, her jailers’ feet were all she could see while wearing a blindfold in prison, and realises that this is the “saviour” who stopped her torture and helped her flee the country.

Hachtroudi reveals her protagonists’ stories through alternating first person narratives that track back and forth in time. It soon becomes clear that the future holds little for them both without their loved ones. Vima’s loyalty to Del, who disappeared after his release, clearly affects Ala, who has a similar all-consuming passion for the wife he left behind. He wants Vima to be his messenger and asks her to write down his “testament as a free man”, recorded on tape, in case something should happen to him. But it is Yuri who holds the last piece of vital information that helps absolve Ala and leads Vima to lay her ghosts to rest.

The Man Who Snapped His Fingers is a powerful indictment of political violence and the use of torture. Ala and Vima may be victims of a tyrannical regime dominated by paranoia but, Hachtroudi suggests, the west is also culpable: “Virtual war is a rich country’s weapon, while the poor country resorts to terrorism.”

Originally published by the Independent on Sunday

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