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The latest review to our Reviews Section is a piece by Aleksandra Fazlipour on Kristín Ómarsdóttir’s Children in Reindeer Woods, which Lytton Smith translated from the Icelandic and is available from Open Letter.
This is the first book of Kristín Ómarsdóttir’s to be translated into English, and it received a great amount of attention when we brought it out this past spring.
Introduced a few weeks ago, Aleksandra Fazlipour interned with me last semester and wrote a ton of book reviews, including this one.
Here’s part of her review:
In Children in Reindeer Woods, Kristín Ómarsdóttir, who is also a playwright, presents an interesting reflection on war. On what is introduced as a peaceful day, three paratroopers invade the temporary home for children where Billie lives and kill everyone except Billie right in front of her. Unexpectedly, one soldier turns against his two comrades and kills them, sparing the young girl yet again. Rafael chooses to retire from the military and start over as a farmer—he goes so far as to shoot off his toes in repentance for murders he commits. We are invited to glimpse into a world fraught with the horrors of wartime and the wonders of childhood by seeing things through the perspective of Billie (although the story is not always told directly from her point of view), an eleven-year old girl who seems too old for her years.
Ómarsdóttir pushes the limits of storytelling, testing the line between the creative mind of a child and what the audience is expected to believe as fact in this surreal world experiencing a devastating war. Billie herself is not any ordinary child—at eleven, she has many ideas about the world around her, about love and relationships, and has many interests that are way beyond her years, yet in spite of this she seems convinced that she is “retarded.” The prose is often frantic, feverish, and sometimes repetitive in a way that draws us into this vaporous, mysterious world. Although the story is not told in Billie’s perspective, the winding and often stumbling style of prose and the hopeful yet naïve tone seems characteristic of either of the two major characters in this fable-like tale.
Click here to read the entire review.
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Three Percent is supported in part by the New York State Council on the Arts.
