Mortals

PUBLISHERS WEEKLY 2003年4月21日

From the beginning, the tone of Rush's eagerly awaited new novel is edgy and febrile a harbinger of the unsettling events that will ensue. Ray Finch, a Milton scholar who teaches in a small secondary school in Botswana during the 1990s, is having an identity crisis. After many years as an undercover CIA agent, he has lost his emotional equilibrium, and he's strung out with suspicion and fear. Is his adored wife, Iris, on the verge of an affair? What's with Iris's warm relationship with the brother Ray despises gay, witty Rex? How long can Ray suppress his growing disillusionment with the agency's arrogant and ruthless methods? When Ray's chief sends him into the interior to hunt down the idealistic leader of a fledgling rebellion, Ray's fears transmogrify into living nightmares, and the novel, already a textured, erotic portrait of a disintegrating marriage and a society in flux, becomes a political thriller infused with violence. Ray is acutely aware of the cultural dissonance introduced by Western society. According to Iris's lover, a black American doctor, Christianity has wrecked Africa; the AIDS epidemic threatens another kind of destruction; and idealistic attempts at reform are doomed to failure (the Denoons, from Rush's prize-winning novel, Mating, show up here, their crusading ardor much diminished). The decadent excesses of rich Americans compared with the disciplined simplicity of life in Botswana add an element of satire. Rush's attempts to meld political reality with domestic tragicomedy occasionally make the narrative unwieldy, and suspense is sometimes fractured during the action sequences in the desert as Ray's inner turmoil spins into tortured mental riffs. Still, the richness of Rush's vision, and its stringent moral clarity, sweep the reader into his brilliantly observed world.