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Savage Tongues

A Novel

ebook
1 of 1 copy available
1 of 1 copy available

“A luxuriant fevered quest for reclamation...Political, poetical, and spooky good.”Joy Williams

"A love story of the most fevered, brutal order...Propulsive, erotic, and darkly dreamlike."Vulture

A new novel by PEN/Faulkner Award winner Azareen Van der Vliet Oloomi, "written with the intensity of early Marguerite Duras and Ferrante's Days of Abandonment," about a young woman’s search for healing in the fall-out of an affair with a much older man, a personal and political exploration of desire, power, domination, and human connection (The Millions).

It’s summer when Arezu, an Iranian American teenager, goes to Spain to meet her estranged father at an apartment he owns there. He never shows up, instead sending her a weekly allowance, care of his step-nephew, Omar, a forty-year-old Lebanese man. As the weeks progress, Arezu is drawn into a mercurial, charged, and ultimately catastrophic affair with Omar, a relationship that shatters her just at the cusp of adulthood.

Two decades later, Arezu inherits the apartment. She returns with her best friend, Ellie, an Israeli-American scholar devoted to the Palestinian cause, to excavate the place and finally put to words a trauma she’s long held in silence. Together, she and Ellie catalog the questions of agency, sexuality, displacement, and erasure that surface as Arezu confronts the ghosts of that summer, crafting between them a story that spans continents and centuries.

Equal parts Marguerite Duras and Shirley Jackson, Rachel Cusk and Clarice Lispector, Savage Tongues is a compulsive, unsettling, and bravely observed exploration of violence and eroticism, haunting and healing, the profound intimacy born of the deepest pain, and the life-long search for healing.

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    • Publisher's Weekly

      June 7, 2021
      The narrator of Whiting Award–winner Oloomi’s uneven cerebral latest (after Call Me Zebra) reconsiders a relationship she had as a teenager with an older man. Writer Arezu returns from the U.S. to an apartment in Marbella, Spain, where she lived 20 years earlier, when she was 17. During that “strange, wild summer,” she had an all-consuming sexual relationship with the 40-year-old Omar, whom she describes as “my lover, my torturer, my confidant and enemy.” Her best friend, Ellie, flies in to help Arezu process her emotions (as with the friends’ past “recovery journeys,” the pair seek to “reverse the language-destroying effects of unbearable pain”). The plot mostly stays put—Arezu swims, the women go out at night, Ellie does a tarot reading—with the narrative focused on Arezu’s inner turmoil. While her self-analysis effectively conveys her anguish and Omar’s manipulation and emotional abuse, the prose is often stilted (“The injustices he’d assailed against me... could not be contained in a single temporal dimension”). Musings on Middle Eastern politics, including a trip to Israel and occupied Palestine with Ellie, add insight, but in the end, the weighty themes are sunk by portentous delivery. Readers can take a pass. Agent: Molly Atlas, ICM Partners.

    • Kirkus

      July 1, 2021
      A woman travels to Spain to confront her traumatic past. Arezu is 17 when she has an affair with Omar, her stepmother's nephew. Affair is too strong a word; Omar is 40 years old, and Arezu doesn't so much consent as she is compelled into a relationship with him. Twenty years later, she's still trying to sort things out. That's where Van der Vliet Oloomi's latest novel picks up. Arezu returns to Spain to try to confront, or at least contend with, her past--and the lingering effects it has had on her life. "How does one document in language an experience of pain so totalizing that it refuses the fixed nature of words altogether?" she asks. Van der Vliet Oloomi's strategy is to forgo plot--and most of the other conventions of fiction--in favor of a book-length monologue. Arezu considers not only her own past, but, more generally, racism, colonialism (her mother is Iranian, her father British), and Israeli-Palestinian politics--Arezu's Israeli best friend joins her on her trip--among other things. The result can feel oddly claustrophobic, even solipsistic, as Arezu sorts through the seemingly infinite gradations of her feelings. The novel breathes when Arezu manages to step outside herself, to describe her brother, for instance, who was once beaten in a racist attack, or her friend, Ellie, who comes with her to Spain. Arezu's trauma is real, but there is something self-indulgent about the way she turns the memories over and over in her mind. She seems to savor her own pain in a way that the author doesn't seem fully aware of. An intense but ultimately claustrophobic book in which a woman can't get outside her own mind.

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