Rabih Alameddine is the author of the novels Koolaids, I, the Divine, and The Hakawati, the story collection The Perv, and most recently, An Unnecessary Woman. He divides his time between San Francisco and Beirut.
I, The Divine: A Novel in First Chapters
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ISBN-13:
9780393343977
- Publisher: Norton, W. W. & Company, Inc.
- Publication date: 02/20/2012
- Sold by: Barnes & Noble
- Format: eBook
- Pages: 320
- File size: 940 KB
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Named after the "divine" Sarah Bernhardt, red-haired Sarah Nour El-Din is "wonderful, irresistibly unique, funny, and amazing," raves Amy Tan. Determined to make of her life a work of art, she tries to tell her story, sometimes casting it as a memoir, sometimes a novel, always fascinatingly incomplete.
"Alameddine's new novel unfolds like a secret... creating a tale...humorous and heartbreaking and always real" (Los Angeles Times). "[W]ith each new approach, [Sarah] sheds another layer of her pretension, revealing another truth about her humanity" (San Francisco Weekly). Raised in a hybrid family shaped by divorce and remarriage, and by Beirut in wartime, Sarah finds a fragile peace in self-imposed exile in the United States. Her extraordinary dignity is supported by a best friend, a grown-up son, occasional sensual pleasures, and her determination to tell her own story. "Like her narrative, [Sarah's] life is broken and fragmented. [But] the bright, strange, often startling pieces...are moving and memorable" (Boston Globe). Reading group guide included.Customers Who Bought This Item Also Bought
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Michael Chabon
[A] work that while marked by radical formal innovation, manages to be warm, sad, funny and moving.
Los Angeles Times
Alameddine's new novel unfolds like a secret... creating a tale...humorous and heartbreaking and always real.
Boston Globe
[M]oving and memorable.
Seattle Post-Intelligencer
Inventive and wholly original...a fully realized portrait of a complex and fascinating woman.
San Francisco Weekly
[W]ith each new approach,[Sarah] sheds another layer of her pretension,revealing another truth about her humanity.
Publishers Weekly
Talk about writer's block; Sarah Nour El-Din never manages to get past the first chapter of the memoir she aspires to pen. Alameddine's innovative novel collects several dozen of (fictional) Sarah's aborted attempts, a structural gimmick that works to create a revealing composite of a character who can't seem to finish her own story. Sarah is the Beirut-born daughter of a love match that went sour; her Lebanese father sent her American mother back to the United States when he tired of her and married a traditional Lebanese wife instead. Saniya, Sarah's stepmother, disapproves of her athletic gifts and packs her off to a strict convent school. Sarah, named after Sarah Bernhardt by her grandfather and just as mischievous and dramatic as the famous actress, grows up in wartorn 1970s Beirut, longing for American freedoms. She emigrates to New York with her first husband, Omar, and resists his attempts to force her to move back to Lebanon, losing custody of her son, Kamal, in the process. Over the next several decades, she marries and divorces again, suffers a devastating breakup with a controlling lover and becomes a well-known painter. Alameddine, a distinguished painter himself, is best known for Koolaids, a novel in which a Lebanese-American gay protagonist discovers he is HIV-positive. His Sarah is a compelling, believable character who struggles to establish an identity as she navigates between cultures, but one wishes that the novel's structure did not mirror her confusion so faithfully. Some vignettes are beautifully written and touching, but others seem rambling or irrelevant. Ultimately, the novel's clever framing device is also its weakness, as the reader yearns for the satisfactionof a linear story. (Oct.) Copyright 2001 Cahners Business Information.
Kirkus Reviews
Incidents from the life of a Lebanese-American artist-each of them vivid, passionate, and briskly told-that still never quite cohere into a unified whole. The problem is Alameddine's (The Perv, 1999, etc.) narrative strategy: she tells her protagonist Sarah's story in a succession of first chapters, variously labeled "Chapter One," "Title Page," and so on. The early chapters tell of Sarah's life as a girl in Lebanon and her parents' traumatic divorce. Her father, a physician, married a bright, attractive woman who gave birth to Sarah and her sisters but failed to produce a boy. She is effectively discarded, and Sarah's father remarries. The family endures the agonies of war in 1970s Beirut, a time and place depicted with compelling, fluid authority, while Sarah's stepmother chills the house with her severe, restrictive personality. Sarah makes her way to the US, attends college, and marries. When she discovers that her sister Lamia, now working as a nurse, has been causing the deaths of patients, Sarah returns to Lebanon to help the family cope with this awful development. The scene is compelling, as are the letters Lamia has written to her birth-mother, and yet, like many of the incidents here, it remains at a distance from the development of the central character. Sarah divorces, remains in the States, achieves modest success as an artist, and, while living in New York, attempts to reconnect with her embittered mother, who suddenly commits suicide-in a moving section that carries its deep pathos well. Sarah realizes in conclusion that she can best be known through her network of family and friends: good advice, perhaps, but not, at least here, the most rigorously coheringmeans of telling a life story. Lovely prose and vividly evocative scenes, though Sarah resists emerging whole from them.