![]() ![]() The new world order ends up a mirror image of the one it usurps: as the deft framing narrative informs us, the story of Roxy et al is actually a revisionist historical novel written in a hazily post-apocalyptic future in which female supremacy is viewed as inevitable. Where Alderman excels is in how thoroughly she develops her conceit. ![]() I confess I glazed over, too, during the over-choreographed action sequences, whose celluloid sensibility makes writing seem the poor relation of film: “as he’s stooping to defend her, she twists right, reaches up, grabs his ear”, and so on. When a crook sells knock-off toys “down Peckham market”, the problem isn’t the made-up detail, it’s the laziness of the shorthand Tunde, wounded, recalls his mother’s “jollof rice bubbling on the stove”. ![]() Also in the mix is Tunde, a Nigerian journalist reporting on an uprising in Moldova, “the world capital of sex-trafficking”, where the female population wage civil war against forces backed by the exiled king of Saudi Arabia.Īnarchic, semi-satirical invention is what most energises The Power it doesn’t sweat the small stuff. ![]() In midwest America, a voice-hearing orphan, Allie, uses it to murder her abusive foster carer before styling herself “Mother Eve”. In London, 14-year-old Roxy uses “the power” to avenge her mother’s gangland killing. Alderman excels is in how thoroughly she develops her conceitĪlderman tells the story from several points of view. ![]()
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May 2023
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