Fernanda Melchor: Hurricane Season, transl. Sophie Hughes (Fitzcarraldo Editions, 2020)
Someone on Goodreads describes reading Hurricane Season like ‘running downhill’ and that is probably the best description of what it feels like: the mad rush, the acceleration, the inevitability of gravity pulling at you. You get caught up in something inescapable and you cannot stop until you reach the bottom of the hill, whether in one piece or not. This is one of the few instances where I perfectly understand and concur with the author’s choice of syntax and style: eight chapters, eight different voices, and it feels like each chapter is composed of just one very long sentence. In actual fact, there might be more than one, but the overall effect is one of precipitation and agitation, so you cannot put the book down and it propels you along to its terrible conclusion.
Not that the beginning isn’t terrible as well. It starts with some children playing by the canal in the Mexican village of La Matosa and finding the body of the local ‘witch’. The rumours go into overdrive about what could have happened to the person they called the Young Witch, to distinguish her from her mother, who was likewise known as a Witch and to whom all villagers turned to for medicine, potions and fortune-telling. In each chapter we find out more about the murder and the witches themselves, the village and several of its inhabitants, in their own language, via their own unfiltered thoughts.
The breathless, feverish style may make for an exhilarating read, but it’s not a joyful one. You may feel the urge to shower or go for a long walk after being in those people’s heads for a while. Poverty, illiteracy, misogyny and homophobia in the rural area are conveyed with such urgency, that they feel like a blow to your stomach. In the interview with Fernanda Melchor and her translator at the Edinburgh Book Festival, the author says she deliberately set out to shock the audience with the violence of the discourse, to demonstrate that this kind of language, thought and behaviour are not normal, that we cannot be complicit in it. She also said she had to start therapy after finishing the book, because so much work and heart and passion went into it – and I’m not surprised.
What really struck me is how angry each of the characters is – anger is often the way they express their loneliness or desperation or need to be loved. The men, especially, come across as weak, pathetic losers who have to take it out on those weaker than themselves, usually the women and children. The author says she is not excusing the monstrous behaviour of those people, but she wanted to show how monsters are made. And she certainly succeeds. She does not shy away from describing the mud and stench, the lack of opportunities, the small and great betrayals, where even the family no longer represents a safe harbour, and where church and superstition constrain people even more.
If you dislike strong language and graphic descriptions of violence and bodily functions, you are going to struggle with this one. The author used the speech patterns of her own native Veracruz region, but also described how she was inspired by A Clockwork Orange to construct a fictional language that would really highlight the problems. Although I haven’t read Selva Almada’s Dead Girls yet, that book (which is a true crime recount similar to In Cold Blood) would provide and interesting contrast with this fictional insight into femicide, a huge problem in most Latin American countries.
This is a world in which men and women distrust and merely use each other, both sides feeling trapped, not realising that it is society that has entrapped them. The men tell each other:
And there are bitches who go even further, they head into the hills in the rainy season to pick a wildflower shaped like a trumpet… and they brew them into a tea that turns you into a real prick, a real soft touch, brings you to your knees, cowering at their feet like a slave, and you don’t have the first fucking clue what’s going on… They’re all the same, dipshit, all up to the same tricks, all capable of untold fuckery just to hold on to you…’
Meanwhile, the women give each other advice as follows, even though they are talking about their own sons:
Got to keep your wits about you in this world… You drop your guard for a second and they’ll crush you, Clarita, so you better just tell that fuckwit out there to buy you some clothes. Don’t you be anyone’s fool, that’s what men are like: a bunch of lazy spongers who you have to keep rounding up to squeeze any use out of them… you’ve gotta keep men like that on a tight leash, keep them busy to stop them coming out with all their shit.
There are a few, very few glimmers of hope, the tentative possibility of real love – all too often nipped into the bud almost before it has had a chance to blossom. Ultimately, however, this is a horrific read, because it is a horrifying subject: the violence that humans perpetuate against each other, and especially against women. Towards the end of the novel, we realise the full extent of it, the national problem one might call it, as Melchor moves from the specific story to the bird’s eye view of the region.
They say the place is hot, that it won’t be long before they send in the marines to restore order in the region. They say the heat’s driven the locals crazy, that it’s not normal – May and not a single drop of rain – and that the hurricane season’s coming hard, that it must be bad vibes, jinxes, causing all that bleakness: decapitated bodies, maimed bodies, rolled-up, bagged-up bodies dumped on the roadside or in hastily dug graves on the outskirts of town. Men killed in shootouts and car crashes and revenge killings between rival clans; rapes, suicides, ‘crimes of passion’, as the journalists call them.
But just when you think there is no hope, no escape, when the women in town agree that ‘there’s no treasure in there… nothing more than a searing pain that refuses to go away’, you get the final chapter. Tenderness and a release of sorts, when a gravedigger known only as Grandfather buries the ‘overflow’ bodies from the morgue, the ones for whom there were no more spaces at the cemetery. He seems to be the only one showing some compassion for the poor mutilated bodies, some understanding of all the suffering, and he believes in talking to the dead as he buries them, guiding them into the afterlife. The final words seemed as powerful and elegiac as the ending of The Great Gatsby:
Don’t you worry, don’t fret, you just lie there, that’s it… The rain can’t hurt you now, and the darkness doesn’t last forever. See there? See that light shining in the distance? The little light that looks like a star? That’s where you’re headed, he told them, that’s the way out of this hole.
So pleased I managed to read this book in the nick of time to include it in the #WITMonth. One that I will be thinking about, uneasily, in years to come.