The Memory of Love

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Overview

Winner of the 2011 Commonwealth Writers' Prize for Best Book

From the award-winning author of The Devil That Danced on the Water and Ancestor Stones comes The Memory of Love, a beautiful and masterfully accomplished novel about the resilience of the human spirit and the driving force of love.

Aminatta Forna has established herself as one of the most breathtaking writers out of Africa today, winning readers' hearts and critical acclaim. Now, in ...

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The Memory of Love

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Overview

Winner of the 2011 Commonwealth Writers' Prize for Best Book

From the award-winning author of The Devil That Danced on the Water and Ancestor Stones comes The Memory of Love, a beautiful and masterfully accomplished novel about the resilience of the human spirit and the driving force of love.

Aminatta Forna has established herself as one of the most breathtaking writers out of Africa today, winning readers' hearts and critical acclaim. Now, in her newest novel, The Memory of Love, she evokes the haunting atmosphere of a country at war, and the powerful stories of two generations of African life. In contemporary Sierra Leone, a devastating civil war has left an entire populace with terrible secrets to keep. In the capital hospital Kai, a gifted young surgeon is plagued by demons that are beginning to threaten his livelihood. Elsewhere in the hospital lies Elias Cole, a man who was young during the country's turbulent postcolonial years and has stories to tell that are far from heroic. As past and present intersect in the buzzing city, Kai and Elias are drawn unwittingly closer by Adrian, a British psychiatrist with good intentions, and into the path of one woman at the center of their stories.

A work of extraordinary writing and rare wisdom, The Memory of Love seamlessly weaves together the lives of these three men to create a powerful story of loss, absolution, and the indelible effects of the past—and, at the end of it all, the very nature of love.

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Editorial Reviews

Publishers Weekly
Forma, recipient of a Hurston/Wright Legacy Award for Ancestor Stones, returns to Africa's troubled conscience in this admirable if uneven outing. Adrian Lockheart is a well-meaning English psychologist who embarks on a temporary post at a Sierra Leone hospital intending to modernize treatment of the long-neglected schizophrenics, transients, and scarred victims of civil war who walk the hospital grounds. He soon meets his match in the elderly ex-professor Elias Cole, who speaks eloquently of his country's turbulent history--and also of his passion for the wife of a more radically minded colleague whose eventual disappearance Cole may be implicated in. As the holes in Elias's story widen, Adrian falls for a patient's daughter and into conflict with a surgeon, and ripples from the unexamined past threaten the present. Yet Forma's material doesn't measure up to the book's length. The book's prolixity, combined with scenes that drag or come off as forced, certainly doesn't ruin the experience, but it does occasionally glut what amounts to a heartening cry for moral responsibility in the thick of maddening injustice. (Jan.)
Library Journal
Forna's second novel after her well-regarded memoir, The Devil That Danced on the Water, takes place in Sierra Leone and weaves stories, past and present, involving Kai, a young surgeon; Elias, an older patient; and Adrian, a British psychiatrist.
Kirkus Reviews

In a soft-spoken story of brutality and endurance set in postwar Sierra Leone, three lonely men are connected by love and a legacy of terror.

Gravitas distinguishes the ambitious second novel by Forna (Ancestor Stones, 2006, etc.), which uses a handful of perspectives and consciences to consider the impact of civil war on an African nation. Adrian Lockheart, a British psychiatrist, is treating elderly, dying Elias Cole, a history lecturer who recounts his obsession, decades earlier, with Saffia, the wife of Julius, a colleague who is suddenly arrested and who dies in police custody. Although she does not love him, Saffia later marries Elias and they have a child. Was Elias partly complicit in Julius's death? Kai, a surgeon at the same hospital as Adrian who has treated victims of the civil war, notably amputees cleaved by machetes, is haunted by terrible events. And Adrian is drawn deeper into recent history by a patient whose disorder symbolizes the scarcely bearable legacy of atrocities inflicted on the civilian population. Setting her story against a background of streets, beaches, bars, police stations and hospitals, Forna evokes a vivid social and cultural panorama. Affection between characters is overshadowed by politics, poverty and the larger fingerprint of a bloody past. While later episodes are weakened by occasional lapses of subtlety and too much connection heaped on a single character, Forna's insight, elegance and elegiac tone never falter.

Tragedy and its aftermath are affectingly, memorably evoked in this multistranded narrative from a significant talent.

Maaza Mengiste
…a luminous tale of passion and betrayal…[Forna] forces us to see past bland categorizations like "postcolonial African literature," showing that the world we inhabit reaches beyond borders and ripples out through generations. She reminds us that what matters most is that which keeps us grounded in the place of our choosing. And she writes to expose what remains after all the noise has faded: at the core of this novel is the brave and beating heart, at once vulnerable and determined, unwilling to let go of all it has ever loved.
—The New York Times
From the Publisher

Praise for THE MEMORY OF LOVE:

“Forna has achieved something…startling and impressive here. Here is a luminous tale of passion and betrayal….Forna’s sharp eye spares no one its brutal honesty…. And she writes to expose what remains after all the noise has faded: at the core of this novel is the brave and beating heart, at once vulnerable and determined, unwilling to let go of all it has ever loved.”—Maaza Mengiste, New York Times Book Review

“Delivering us to a common center, no matter where we happen to be have been born, Aminatta Forna tackles those great human experiences of love and war, of friendship, rivalry, of death and triumphant survival. Often darkly funny, written with gritty realism and tenderness, The Memory of Love is a profoundly affecting work.”—Kiran Desai, winner of the Man Booker Prize for The Inheritance of Loss

“[An] elegantly rendered novel of loss and rehabilitation in the aftermath of Sierra Leone's long civil war….As Kai, Adrian and Elias are revealed in flashbacks and fragments, the novel coalesces into an ambitious exploration of trauma and storytelling….Forna advances the story through tightly executed scenes…time bombs that detonate once their context becomes clear.”—San Francisco Chronicle

“Fate and tragedy intertwine in this stunning and powerful portrait of a country in the aftermath of a decade of civil war.”—Kristine Huntley, Booklist

“The author's visceral appreciation of her troubled country is evident on every page of The Memory of Love. So, too, is her probing intelligence—and her compassion.”— Brooke Allen, Barnes & Noble Review (online)

“Set in Sierra Leone during the aftermath of its devastating decade-long civil war that began in 1991, Aminatta Forna’s new novel … is a remarkable feat of storytelling …Like Ancestor Stones, Forna’s 2006 fiction debut, Memory draws us into the lives of its protagonists from the first few passages. And just as quickly, it carries us away with a thrilling story of friendship and betrayal while keeping us grounded as eyewitnesses to man’s cruelty and courage.”—Karen Holt, Essence

“The real pleasure of Forna’s storytelling is in her scrutiny of her characters’ inner lives and her ability to connect their choices to the moral dilemmas of a traumatized society.”—The New Yorker

“Forna, a former BBC journalist and documentarian, has seen the cruelties of the war-ravaged West African country first-hand, and has devoted a career to chronicling them. In careful, precise prose, Forna makes even the seemingly commonplace details meaningful.”—Nora Dunne, The Christian Science Monitor

“As in Forna's first novel, Ancestor Stones (2006), women serve to bring all these stories together…The way Forna writes it, these women were the primary victims of the wars, and the ones expected to pick up and move on. The men, those who survived, rarely can; they tell and retell their tales and run from memories that reveal their cruelty, weakness, and utter helplessness. This device could be distancing, but in Forna's capable hands it works, bringing us slowly into stories that might otherwise be too horrific to digest. Her subtle approach, with narrative building on narrative, also highlights the issues underlying the trauma — how the former child soldier who can no longer stand the smell of cooked meat may be more sympathetic than the selfish civilian who acted out of fear and ambition.”—Clea Simon, The Boston Phoenix

“Forna is one of the best novelists writing about Africa”—Cristin Miller, Hugo House (online)

"This is powerful and necessary reading."--Karen Briggs, Shelf Awareness (online)

"She threads her stories like music, imperceptibly into the reader's consciousness. One is left hauntingly familiar with the distant and alien; not quite able to distinguish the emotional spirits of fiction from the scars of real experience." —The Times (London)

“A soft-spoken story of brutality and endurance… Forna’s insight, elegance and elegiac tone never falter. Tragedy and its aftermath are affectingly, memorably evoked in this multistranded narrative from a significant talent.” –Kirkus Reviews (starred review)

“A subtle and complex exploration, daring in depth and scope, of both the psyche of a war and the attractions which it holds for an outsider. Forna is a writer of great talent who does not shy from tackling the toughest questions about why humans do the things they do: from the smallest acts of betrayal to the greatest acts of love.”—Monica Ali, author of Brick Lane

“It is difficult to confine a commentary about The Memory of Love to a paragraph, so grand are the dimensions of this wise, compassionate novel. Though it is set in one corner of West Africa, its story is the story of that entire continent—beautiful, captivating, tormented. Yet it is much more: a universal tale of love, of war’s power to cripple souls as it maims bodies, and of the triumphant human spirit, overcoming the forces that seek to crush it.”—Philip Caputo, author of Rumor of War, Acts of Faith and Crossers

“A striking study of the past and present of a country whose name calls up twisted images of beautiful beaches, blood diamonds and child soldiers… The Memory of Love is an ambitious novel, but one that richly rewards the committed reader.”—Lauren Bufferd, Book Page

“The Memory of Love is the most significant novel that I have read since Orhan Pamuk’s The Museum of Innocence….This is an extraordinary meditation on the capacity that men and women have to survive in the midst of the most overwhelming obstacles that war and all its attendant violence and degradation can throw in front of them. Aminatta Forna’s The Memory of Love is the first major novel of the new decade.”—Charles R. Larson, Counter Punch (Online)

“Aminatta Forna’s third novel…tells the stories of normal people struggling, in the aftermath of terrible violence, to survive the psychological and social impacts of what they experienced in [Sierra Leone’s] brutal civil war. Some write. Others emigrate. And, in this consummate picture of the horror of civil war, some, like Forna’s heroine Agnes, are forced to live among the same people who committed unspeakable atrocities.” –‘This Week’s Hot Reads’ Selection, The Daily Beast

“Memories of love, Forna writes, are like phantom limbs: “The pain is real, yes, but it is a memory of pain.” Forna’s novel illuminates the phantom limbs of a nation through considering the narratives of individual men and women within and outside of a country’s collective experience… Forna continues to be a writer to watch, one whose work explores essential questions about what it means to survive our own histories.”—Katie Freeman, Tkreviews.org

“This, no doubt, is one of the best books I have read this year, and I think ever. The writing is careful, clear, crisp, oh, just beautiful. … This is a complex book, a complex story, a book about getting to know people, its beauty is in its ordinary characters, ordinary in the sense that they are not some grand characters on the scale of social class, extraordinary in the author's stark individualisation of each character.”—The Pen and I (blog)

“To read The Memory of Love is to experience, not simply learn about, the inner existences of its characters, even as they lapse in and out of their lives.” –Anjali Joseph, Times Literary Supplement (UK)

"Forna weaves an intricate tapestry of betrayal, tragedy and loss; expertly drawing together the threads that link the sick old man, the brilliant doctor with dreams of leaving his troubled homeland, the wounded English psychologist and the young woman who links the three of them in a common bond of love… [Forna] moves deftly between the enchantments of different narratives: the therapeutic, the confessional, the traumatic—flashbacks, nightmares, hauntings, fugue states where stories are lost or distorted beyond recognition and the sweetly joyous themes of new love, renewal, springing hope, second chances." — The Telegraph, April 2010 (UK)

"Aminatta Forna's novel is intelligent, engrossing and beautifully crafted." — The Daily Mail (UK)

“Aminatta Forna’s brilliant new novel takes an oblique look at the Sierra Leonean civil war of the 1990s. . . Forna writes like a scientist, not only in the accuracy of her descriptions but in the way she selects which incidents to highlight, turning each scene into a metaphor that reverberates with meaning beyond the event itself…you feel that what she is reaching for is economy of phrasing, aptness of imagery, exactness of description, and she achieves that perfectly. This is a remarkable novel: well researched, well thought out, well written – the kind that deserves to be on the Booker shortlist.”—Helon Habila, The Guardian (UK)

"Aminatta Forna's two previous books explored, with elegance and empathy, the conflicts endemic to Sierra Leone. Her second novel continues Forna's examination of unpalatable truths while sacrificing none of her talent as a storyteller." — The Sunday Telegraph (UK)

"Through the complicated connections between characters, Forna explores a country’s history: the violence and chaos of war, the scars, the hope and determination and the uncertainty of rebuilding." — The Sunday Times (UK)

"As Forna's forensic re-inhabiting of the aftermath of the conflict reveals, these wounds may have vivid physical realities, but it is always behind the eyes that they are felt most keenly." — Tim Adams, the Observer (UK)

"Forna reveals the legacy of [the war's] damage, viscerally visible in injured bodies, but just as devastating to the mental health of the survivors who were witnesses and victims of a repressive regime. Heartbreaking." — Marie Claire (UK)

"Forna [assembles] her character with the patience and vision of a chess master, and soon they are locked in an inexorable collision of good and evil and past and present, until we read on hurriedly to see if they will be left with hope." — Metro (UK)

"The Memory of Love is a beautifully crafted tale of life in Sierra Leone in the aftermath of the civil war.....This is not a book to be read lightly, but one to savour and share." — Stylist (UK)

"If West Africa has lived through some of the most grotesque episodes of the 20th century, it has also been blessed with several generations of extraordinary writing talents who continue to turn those ordeals into heart-rending literature." — Michela Wrong, The Spectator (UK)

The Barnes & Noble Review

From Brooke Allen's "READER'S DIARY" column on The Barnes & Noble Review


If anyone requires proof of how profoundly this world has changed in the last sixty or seventy years, the city of Freetown in Sierra Leone might serve as a prime exhibit. Novelist Graham Greene was posted there as a British intelligence agent during World War II, and his famous descriptions in The Heart of the Matter (1948) branded it unforgettably on his readers' imaginations as a sleepy colonial backwater dominated by bored British functionaries. The country itself, "the soupsweet land," Greene portrayed as a place of benighted but real beauty.

Contrast this atmosphere with that of contemporary Freetown as depicted in Aminatta Forna's fine new novel The Memory of Love. The capital is now a massive city full of decayed colonial infrastructure and burgeoning shantytowns. Still trying to recover from a long civil war of unprecedented brutality (1991-2002), Freetown's denizens attempt to rebuild lives that appear to have been shattered beyond repair. Now things are once again peaceful on the surface, but remembered horrors cannot be suppressed. And as with most wars, the survivors have to face not only the physical and mental injuries that have been inflicted on them but those they have inflicted, either passively or with malice, on others. A novel like this makes one understand just how trite the concept of "reconciliation," that word so freely bandied about by politicians, can be. The wounds, in so many cases, are too deep for a simple resolution.

It is not the first time Forna has delved into such issues: her first book, The Devil That Danced On the Water (2002), explored the execution on trumped-up charges of her father, a Sierra Leonean cabinet minister and political activist, when she was only eleven -- events shrouded in mystery and fear throughout her childhood. By that time her parents had split up and she and her Scottish mother had moved to Britain, where Forna was educated; she eventually took a job in television broadcasting at the BBC. But she has maintained a strong connection with her natal country and paternal family, and continues to take part in family business and philanthropic ventures.

The Devil That Danced On the Water created a sensation in Sierra Leone, where the numerous "disappearings" and political murders that had taken place in the early years of Siaka Stevens's premiership were still forbidden subjects. Mohamed Forna, Aminatta's father, was part of a hopeful and progressive generation of young Africans, in the first decade after independence, who went to Europe or America for their studies and returned home to assume leadership positions in the new nations. Their idealism was soon dashed as one African country after another succumbed to cruel and exploitative dictators.

With The Memory of Love Forna shifts her focus from brave men like her father, willing to pay for their ideals with their lives, to their opposites: the men who survive and thrive by colluding with evil. It is 2003 and Elias Cole, an elderly university administrator, is slowly dying of pulmonary disease. As he fades from life he narrates his memories of the past forty years to Adrian, an English psychologist. At first Elias's tale seems straightforward enough: he describes the ferment and political passions of the Sixties, his firebrand friend Julius, his secret love for Julius's wife Saffia, Julius's arrest and death in prison, and his own subsequent marriage to Saffia. But as the story progresses we realize that Elias is a perfect example of that literary archetype so hard for authors to pull off: the unreliable narrator. His version of events is a complex edifice of self-justification and lies of omission. Julius, the brave and joyful man, is dead, while cowardly Elias has lived on for joyless decades.

But these are distant memories; it is the more recent past that has blighted the new generation. According to one estimate, by the end of the civil war ninety percent of Sierra Leoneans were suffering from what the medical profession defines as Post-Traumatic Stress Disorder. When there is trauma on this scale, can it even be described as pathological or is it, quite simply, life? How can a whole population "recover"? Can the nation ever move on? Adrian, an English psychologist who has come out to Freetown to volunteer his help, finds himself dealing with apparently hopeless cases. There is Agnes, for instance, who finds her long-lost daughter only to discover that the young woman is now married to the sadistic officer who murdered her other child. There is Adecali, a pathetic man so tortured by the atrocities he committed as a member of the rebel army that he has landed in a mental hospital. And there is Kai, a young surgeon who becomes Adrian's closest friend: what Kai has undergone does not bear thinking about, and cannot be told even to Adrian.

And anyway Adrian himself, for all his fine intentions, is a suspect character to these haunted citizens, for in postwar Freetown aid workers like Adrian have assumed the places vacated by Greene's parasitic colonials: they buzz around town in air-conditioned cars, live luxuriously, with staffs of servants, and generally behave as though they own the place and its inhabitants. Adrian is not of their ilk, but it is true that altruism is not his only reason for being in Sierra Leone: as Kai easily intuits, Adrian is there to escape his old life as well as to embrace a new one.

The Memory of Love is philosophically a rather complex novel, and Forna has wisely opted to present her material at a leisurely, measured pace. The slow movement suits the atmosphere she is attempting to transmit -- for despite all the changes that have overtaken the country, Forna's Sierra Leone is still recognizably Greene's soupsweet land:

In this country there is no dawn. No spring or autumn. Nature is an abrupt timekeeper. About daybreak there is nothing in the least ambiguous, it is dark or it is light, with barely a sliver in between. Adrian wakes to the light. The air is heavy and carries the faint odour of mould, like a cricket pavilion entered for the first time in the season. It is always there, stronger in the morning and on some days more than others. It pervades everything, the bed sheets, towels, his clothes. Dust and mould.

As this passage indicates, the author's visceral appreciation of her troubled country is evident on every page of The Memory of Love. So, too, is her probing intelligence -- and her compassion.




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Product Details

  • ISBN-13: 9780802119650
  • Publisher: Grove/Atlantic, Inc.
  • Publication date: 1/4/2011
  • Pages: 464
  • Product dimensions: 6.40 (w) x 9.00 (h) x 1.70 (d)

Read an Excerpt

THE MEMORY OF LOVE


By Aminatta Forna

Atlantic Monthly Press

Copyright © 2010 Aminatta Forna
All right reserved.

ISBN: 978-0-8021-1965-0


Chapter One

On the iron-framed bed a single, scant sheet has moulded itself into the form of the human beneath. On top of the bedside cabinet, a small pile of spiral-bound notebooks sits alongside a vase of flowers, bright-coloured and plastic. The notebooks are worn from handling, the leaves rippled with damp. In the atmosphere of the room the memories of a man float and form. The man in the bed is telling a story. His name is Elias Cole.

Adrian listens. He is new here.

Elias Cole says:

* * *

I heard a song, a morning as I walked to college. It came to me across the radio playing on a stall I passed. A song from far away, about a lost love. At least so I imagined, I didn't understand the words, only the melody. But in the low notes I could hear the loss this man had suffered. And in the high notes I understood too that it was a song about something that could never be. I had not wept in years. But I did, there and then, on the side of a dusty street, surrounded by strangers. The melody stayed with me for years.

This is how it is when you glimpse a woman for the first time, a woman you know you could love. People are wrong when they talk of love at first sight. It is neither love nor lust. No. As she walks away from you, what you feel is loss. A premonition of loss.

I never thought I would hear that tune again. Then a month, or perhaps it was two months ago, as I sat alone in the room in my house that serves as a study, the window was open, and through it faintly, I heard somebody whistling the tune and singing pieces from the refrain. A woman's voice. The very same tune from those years ago. I shouted for Babagaleh, who for once came on the first call. I sent him down into the street to find whoever was whistling. He seemed to be gone for ever. And all the time I waited what could I do but sit and listen to my heart keeping time with my impatience.

The person Babagaleh brought to me was a builder, a Fula, dressed in torn trousers, bare of chest and covered in cement dust, which reminded me of funeral ashes. Babagaleh ushered him off the carpets, but I called him close again. I asked him to sing and he did, some other tune. I wouldn't have put it past Babagaleh to have called the first person he saw from the gate. I hummed a few of the notes, as I remembered them.

And then the man in front of me sang, and there was the tune and his voice, girlish and high. After he had sung for me, I asked him to tell me the meaning of the words. The song was indeed about loss, but not of a woman. In the song a young man longed for a time past, a time he had only heard about in the words of those who'd lived it, a time of hope and dreams. He was singing of the life lost to him, because it had been his misfortune to be born much later, when the world was already a different place.

I had woken later than usual that morning. Babagaleh had been up for hours. A Muslim, a northerner, he's up with the call to prayer by five every morning, which is one good thing about him. Also, he doesn't drink and is an honest man, which is more than you can say of many. Quick to temper, though, those northerners. I called him to take a bucket of hot water to the bathroom, so I could shave. These days there is no hot water, we're lucky if there is water at all. The taps run dry, as had been the case for the last few days. We kept a barrel at the back of the house for such contingencies.

'I want to finish the study today,' I told him. 'When you come back from market come and find me there.'

'Today is Friday,' he replied as he filled the sink and prepared to withdraw. I was still in my pyjamas, sitting on the edge of the bath, summoning the energy to lift myself up and reach the sink. Of course, Friday. Babagaleh would be at the mosque. No one to help me all day.

'Very well,' I said. 'Mind you come straight back. No wasting time with all that congosa afterwards.'

No reply, which meant he intended to do just as he pleased. He poured the water into the sink and set down the bucket, came and hovered over me like a bluebottle. I waved him away. When he had gone, I took a breath, as deep as my lungs would allow, and levered myself up with the aid of the towel rail. Four steps to the sink. I rested my hands on the edge of the porcelain, steadied myself on my feet and stared into the mirror. The pale hairs on my chin gave my face an ashen cast. I leaned forward and pulled down each eyelid. My eyeballs were yellow, streaked with red. Admirable colours in a sunset, perhaps.

The night before, as on other nights, Babagaleh arranged the pillows behind me. By then I was forced to sleep virtually upright. I had lain gazing into the black listening to the creaking of my stiffened lungs, the air whistling through the tubes, like a piece of rusted machinery.

I picked up my shaving brush, wet the bristles and lathered my face with soap. The razor was less than sharp and pulled at the hairs, dragging them out of the loose folds of skin. Where the furrows were deepest the razor slid over the wet hairs. I stuck my tongue into the side of my cheek and with my left hand pulled the skin taut. When I had finished, I splashed the water in the basin over my face. It was still hot; I luxuriated in the feel of it. Afterwards I looked again in the mirror. The blood welled up in a number of nicks in my skin. Over the years my skin had grown thinner. It hung down, beneath my eyes, under my jaw, sliding off the bones of my face. I squeezed toothpaste on to my toothbrush and attacked my teeth. Blood on the bristles. My gums had shrivelled away, like slugs in the midday sun. When I was through, I rinsed my mouth and spat into the basin. Then I pulled the plug and watched the toothpaste, bloodstained suds, hairs and water swirl away down the hole, like so many lost years.

When Babagaleh returned from the market I was sitting on the unmade bed, struggling into my clothes. The effort of getting dressed had provoked in me a coughing fit, the sound of which must have brought him to the door of my room. Wordlessly he set down the tray containing my medicine, a jug of water and a glass, poured a little of the water and helped me to take a few sips. Gradually the coughing subsided. Then I sat still, submitting to his ministrations like a child or a halfwit. He freed my left arm from where it was trapped in the shirtsleeve, then he buttoned the cuffs. I pushed away his hands, insisted on buttoning the front myself. He bent and rolled a sock over each foot, pushed them into my shoes and tied the laces.

Starched white shirt. Black trousers. Proper footwear. I could shamble around, unshaven, wearing stained pyjamas, like my neighbour opposite. All over town, you see them. Slumped on the balconies of their homes, amid the traffic fumes, staring into space, gradually being covered in a layer of dust from the street. The living dead.

As I left the room I caught a glimpse of my own reflection in the dresser mirror. A straw man in the half-light. The shirt and trousers billowed out above and below my belt. Every week I pulled the belt a notch tighter. A smear of blood on the collar of the shirt. What to do? I could not go through the effort of changing my clothes again. I expected no visitors.

Babagaleh came to tell me he was leaving. He was dressed for the mosque, wearing a long djellaba of pure white, leather sandals and an embroidered round hat of deep blue. It occurred to me, not for the first time, how easy it would make life to be able to dress like that. Each day Babagaleh performed his simple duties; on Fridays he took his place in the second row in the mosque. A day off every other week. Once a month he went to visit his wife. Though they had long since gone their separate ways, only last year he'd paid for a new roof and window frames. Together they drank coffee and spoke of their grandchildren.

Before he left Babagaleh returned carrying another tray, this time holding a Thermos of tea, a loaf of Fula bread, margarine, a pair of hard-boiled eggs. He poured me a cup of tea and loaded it with sugar. Like all his kinsmen he holds to the belief that sugar is heartening.

He walked the length of the room partially drawing the curtains against the coming heat, left without speaking again. I sat for a moment or two sipping the tea, aware of my sudden solitude. Thoughts like weevils burrowed into my brain. Nothing I did could shake them out; at night they forced me awake just as often as my bouts of breathlessness. There is nothing new in this, I'm sure. A condition of age. A consequence of insufficient occupation.

White-painted walls. Dark-wood floor. Parquet. It had cost money to have that laid. Over by the window, visible beneath the coat of wax, a parallelogram of bleached wood where the sun entered. A fringed, dark-red rug, with its own matching diamonds of sun-lightened wool. A pair of planter's chairs bought from the Forestry Commission thirty years before. Tooled red-leather pouffes, cracked and mildew-stained.

Increasingly I found it hard not to look around the place and do the sums in my head of what it might all fetch in a sale. One day I watched Babagaleh shaking out the curtains, wiping down the arms of the chairs with a damp cloth — I wondered if he was thinking the same. The thought got me going and as the day wore on I became preoccupied with the matter of my library. The volumes on the shelves amounted to hundreds. I decided to set myself the task of deciding which ones were worth keeping. The rest could go to the university library. A donation. That was the way to do it. This new angle on the idea invigorated my project with purpose.

We are like caged pets, we elderly. Like mice or hamsters, constantly reordering our small spaces, taking turns going round and round on the wheel to stop ourselves from going mad.

A year ago I'd ordered the whole interior of the house redecorated. Two painters arrived with dust sheets and set up their ladders. From time to time I'd mount the stairs to check their progress, make sure that they didn't spill paint on the parquet floor, but also to watch the pair of them balanced perfectly on a single board suspended between stepladders while they painted the ceiling. They talked between themselves, all manner of subjects, proletariat wisdom prompted more often than not by the words issued from their wireless. They did not mind me, it was not their place to do so and besides they knew I had little enough with which to occupy myself.

It was at this time I began to suffer problems with my breathing; the fumes of the paint, you understand. Before then, a dry cough that bothered me occasionally. I put it down to the harmattan wind, pollen from the garden, the smog of traffic fumes that lay across the city. I hadn't been to see a doctor. For what? So the man could tap my chest, write a prescription for some antibiotics and then chase me for an outrageous sum?

A spider had spun a web in one corner of the ceiling, silken trapeze wires. And over on the carpet, flecks of white powder, missed by Babagaleh. Cement dust.

I saw a woman once, the loss of whom I mourned, even before I had spoken a single word to her.

20 January 1969. The faculty wives dinner. We, the bachelors, gathered together at the bottom of the lawn, a patch of untended weeds. On the other side of the grass was the reception line. I was listening, or at least making the appearance of it, to my companion complain about the reallocation of space in the faculty building. He had lost out, which was a shame, no doubt. I looked away, towards the arriving guests. She wore a blue gown and, as she descended the stone steps to the lawn, her fingers plucked lightly at the fabric, which clung to her in the heat. I watched her and felt a surge of feeling, that then nameless emotion.

The first conscious thought I had came moments later — and it struck me like a blow — the man coming down the stairs a pace behind was her husband.

Within a few yards of the receiving line, I saw him move away. Not her husband. Relief, a cold breath down my spine. Then I saw her reach out her hand and touch him lightly on the sleeve. And with that light touch, made with just the ends of her fingers, she may as well have had the strength of ten men, so quickly did he yield and alter his course back towards the long line of people. I saw how he submitted his will to hers. I saw her smile, an upward curving of her lips, faint and sweet. A smile he returned, gracious in defeat. Seconds had passed since I first laid eyes on her and I'd already lost her twice over.

I excused myself, placed my glass on the tray of a passing waiter, moved across the lawn and stood at the end of the receiving line next to the last man, a fellow I recognised vaguely from the faculty hierarchy. I nodded and he nodded back, barely registering me, having lapsed long before into the sort of stupor such social obligations are inclined to induce.

I shook one or two hands, muttered greetings. Nobody knew or cared, their minds were already turned to thoughts of alcohol and food. And then there she was, standing before me, her hand held out, smiling. I took her hand. I spoke my name. Saw her smile, a poor man's version of the smile she had given to her husband. She moved on and hovered a few yards away while I shook her husband's hand. Together they walked across the lawn, his hand once more at her elbow.

My eyes followed them. I realised I had no idea of her name, for it had been obliterated in the moment of our meeting, by the drumming in my ears.

The tea had cooled by the time I got around to drinking it. I have a dislike of lukewarm liquids. I carried the cup across the room and set it down on a low table while I heaved open the glass door to the verandah. Outside I poured the liquid over the railing into the flowerbed and watched with satisfaction as it bored a hole in the dry earth. The garden had suffered during the drought; bare patches of rough earth had appeared in the lawn, the beds looked more like neglected graves.

By the time I returned to the chair, the effort had brought me out in a sweat. I poured myself a fresh cup of tea, and drank it carefully. I cracked one of the eggs on the side of the tray, and picked at the shell with my fingernails. Then I poured a little salt on to the plate and dipped the egg into it. Babagaleh never had subscribed to the view that an egg could be overcooked. It was as much as I could do to swallow. I returned the rest to the tray. Still no appetite. It is a mockery. It should be liberating, the absence of a desire. Instead you feel another kind of longing, for the desire that is lost. I yearned to want food again, to feel hunger and then to indulge the pleasure of sating it. I felt a sudden, whimsical urge for a cigarette. What could be more pleasurable than casually inhaling toxins, deep into the lungs?

In time I levered myself back to my feet and went to sit behind the desk, swivelled the chair around to face the bookshelves. I selected a volume and brought it down. Banton's West African City, published under the auspices of the International African Institute. The book was cloth-bound with stitched seams, the paper yellow and grainy beneath my fingertips. I searched the front pages for the publication date. 1957.

I began to read where the book fell open, about the growth of this city: The third stratum comprised the tribal immigrants, who were regarded by the Creoles as hewers of wood and drawers of water, and who were for a time content with their station.

I turned back a page: They called them 'unto whom', quoting from Psalm 95: 'Unto whom I sware in my wrath: that they should not enter into my rest.'

In the margin were scribbled some words. Had I not been as familiar as I was with the hand, I would have struggled to decipher the words: Give me a full belly and a hammock and I shall enter my own rest. Julius. It had been a habit of his, typical of the man, to enter marginalia into a borrowed book. I closed the page, took a few minutes to bring control to my breathing. I leaned over the desk and let the book drop into the cardboard box by the side of the desk.

The next volume I picked up was Lethbridge Banbury's book on these parts. Now this one was actually worth something. A handsome deep-red volume. On the cover a gold-engraved image of an elephant and a palm tree. Hand-cut leaves. Black-and-white illustrated plates, each one protected by a leaf of tracing paper.

I can quote the first lines by heart, still: Why I went to S is neither here nor there: perhaps I took that step from that insatiable wish to 'see the world', which so ardently possesses many Englishmen; or perhaps I was actuated by an ambitious desire of obtaining promotion in a service in which success is popularly supposed to come specially to those who depart from the beaten track in search of it.

(Continues...)



Excerpted from THE MEMORY OF LOVE by Aminatta Forna Copyright © 2010 by Aminatta Forna. Excerpted by permission of Atlantic Monthly Press. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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