The Hypocrite
A Novel
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- ¥710
発行者による作品情報
ONE OF THE ATLANTIC'S 10 BEST BOOKS OF THE YEAR • DAKOTA JOHNSON’S TEATIME PICTURES SEPTEMBER BOOK CLUB PICK ● From a fiercely talented writer poised to be a new generation’s Rachel Cusk or Deborah Levy, a novel set between the London stage and Sicily, about a daughter who turns her novelist father’s fall from grace into a play, and a father who increasingly fears his precocious daughter’s voice.
“A sharp book, beautifully written.” —Rumaan Alam, author of Leave the World Behind and Entitlement
"Excellent...I enjoyed the novel hugely...Like Edward St Aubyn and Anne Enright, Hamya is so good on generational conflict, the friction of family, and the damage done by charming but complacent men. But The Hypocrite is a strikingly original book too. I tore through it, shoulders clenched but full of admiration."
—David Nicholls, author of One Day, in Electric Literature
August 2020. Sophia, a young playwright, awaits her father’s verdict on her new show. A famous author whose novels haven’t aged as gracefully into the modern era as he might have hoped, he is completely unaware that the play centers around a vacation the two took years earlier to an island off Sicily, where he dictated to her a new book. Sophia’s play has been met with rave reviews, but her father has studiously avoided reading any of them. When the house lights dim however, he understands that his daughter has laid him bare, has used the events of their summer to create an incisive, witty, skewering critique of the attitudes and sexual mores of the men of his generation.
Set through one staging of the play, The Hypocrite seamlessly and scorchingly shifts time and perspective, illuminating an argument between a father and his daughter that, with impeccable nuance, examines the fraught inheritances each generation is left to contend with and the struggle to nurture empathy in a world changing at lightning-speed.
PUBLISHERS WEEKLY
Hamya's provocative second novel (after Three Rooms) lays bare a family's fraught relationships over the course of an afternoon at the theater. Sophia's father, a successful novelist, attends a matinee performance of her play, having no idea until it begins that it's about him. The play recounts a summer holiday in Sicily a decade earlier, when Sophia was 17 and her father insisted she take dictation for the novel he was writing. In flashbacks from Sophia's point of view, she reveals her disgust with her father's misogynistic writing and his philandering, which she dramatizes on stage—in one scene, the character based on her father has sex with a woman in the kitchen of the place where he is staying with his daughter. During intermission, Sophia's father overhears a fellow audience member call the play "social justice for the upper middle class," which prompts him to come to Sophia's defense. During the performance, Sophia has lunch with her mother, who divorced Sophia's father years earlier and who claims her marital duties were a mix of "companionship and coddling." None of the characters escape Hamya's bemused and excoriating view, nor are there any easy answers to the questions raised about expressions of gender and privilege in art. Fans of Anne Enright's The Wren, the Wren ought to take note.
