by Eli Lambe
Hopkinson’s writing is enchanting. Her words wrap around you and inhabit you, they turn your skin to bark, the wind into a goddess, your body lifts and falls with the lines of beautifully crafted prose. To read her work is to be transformed, transported, transcended. Her first novel, Brown Girl in the Ring (1998), explored community, magic, and family in a Toronto “hollowed out” by white-flight and financial catastrophe.
Her second, Midnight Robber (2000), used language — particularly dialect — and mythology to imagine, from a Caribbean perspective, “what stories we’d tell ourselves about our technology – what our paradigms for it might be” and to bring together ideas of storytelling, colonialism and trauma. Since then, she has published several other novels and collections, all of which are thoughtful, accessible and fundamentally affecting, the most recent of which is the subject of this review.