Today’s contributor to our Big Loves column is Tyler McMahon. Tyler has published two novels—How The Mistakes Were Made (St. Martin’s, 2011) and Kilometer 99, which releases today, June 17, 2014. Tyler is the editor of Hawaii Pacific Review and teaches in the English Department at Hawaii Pacific University.
I saw Russell Banks speak at a theater in Boise, Idaho. It must have been 2004. I seem to remember him talking mostly of Hemingway; he showed a certain giddiness at the fact that Papa had shot himself not so many miles up the road from where we sat. “Hemingway Country,” he called it.
I’d always liked Banks’ work, and had read several of his earlier novels. I thought I had him pegged as an author who wrote about working-class New Englanders, often with father and brother issues, sometimes caught up in misadventures that drew them towards the Caribbean. Hemingway’s influence seemed about right.
But that impression was cracked open once he read a passage from his new novel, The Darling. The story was narrated by a female protagonist—a decidedly un-Hemingway approach. And while it took place in Africa, it was not the Africa of wealthy mountain climbers or half-drunk safaris.
Indeed, Hannah Musgrave is an American expat narrator unlike the midcentury tropes. A sixties radical and member of the Weather Underground, she’s wanted by the FBI and hiding out in New Bedford, making small explosives and forging documents for other fugitives. On the run, she winds up in Liberia, marries a bureaucrat, and witnesses the country’s descent into civil war.
As the trophy wife of a low-level government minister, Hannah becomes the opposite of the independent woman she’d always aspired to be: “I was a different woman. You probably think of me as strong and independent, and I believe that I am—now. I was strong and independent when I was young, too, back before I came to Africa. But in the years between? No. Emphatically no. I was different then.”
In the novel’s most superb turn of plot, Hannah’s three young sons become boy-soldiers aligned with Prince Johnson’s guerilla force. Renamed Fly, Demonology, and Worse-Than-Death, they commit grotesque acts of torture. Even this move is treated sympathetically. The leap from privileged youngsters to violent killers is bridged by Banks’ careful detailing of tribal values regarding family and the sons’ reaction to their father’s murder. In this novel, it is violence that begets more violence, and at the end of the chain is a colonial political structure, brutally and stupidly imposed in the first place.
Though it’s set not so many years ago, The Darling is first and foremost an historical novel. It is a long and unflinching immersion in a dark and nearly ignored chapter of the twentieth century. In that sense, the book demonstrates the enduring need for fiction in our time.
Toward the end of the novel, Hannah says: “Mine was merely the story of an American darling, and had been from the beginning.” This may be the fundamental epiphany available to Americans abroad, fictional or not: that their stories are small and occur among bigger, more terrible sweeps of history. Through Hannah, Banks allows us to imagine an America to whom the rest of the world is equally darling.
For original poetry, fiction, interviews, and art song, please visit our magazine at www.memorious.org.