“What was it about this country that kept everyone hostage to its fantasy?”
Infinite Country shares much in common with two of other novels by Patricia Engel, The Veins of the Ocean and Vida. While I do enjoy certain aspects of her storytelling—which at times reminds me of authors such as Alice Hoffman and Isabel Allende—I do think that her work is much too heavy on the telling. As with The Veins of the Ocean, this latest novel is very light on dialogues and mostly relies on recounting the various histories of various characters. Still, interspersed in their experiences are some lovely descriptions and observations. I particularly liked the role that myths play in the narrative.
“When the world was new, the creatures that ruled were the jaguar, the snake, and the condor.”
I loved the first chapter, which mostly focused on Talia, the youngest child of Elena and Mauro. Although she was born in America she was raised by her father and maternal grandmother in Bogotá. After an act of violence she is sent to a correctional facility run by nuns in the mountains of Colombia. Talia, however, is determined to leave as she has a flight to the U.S. to catch. As Talia journeys across Colombia, hitching rides here and there, readers learn of her parents first meeting and subsequent relationship. The two lived for awhile with Elena’s mother but after the birth of their first daughter they relocate to America. After they ‘overstay’ their tourist visa they are forced to accept unfair wages and live in precarious places. Throughout their relationship Mauro struggles with alcoholism and depression, which drives them apart.
“Emigration was a peeling away of the skin. An undoing. You wake each morning and forget where you are, who you are, and when the world outside shows you your reflection, it’s ugly and distorted; you’ve become a scorned, unwanted creature.”
Similarly to The Veins of the Ocean and Vida this novel shows the hard choices immigrant parents have to make: to live in a country which deems them ‘alien’ and in perpetual fear of being deported, or to return to their home country, knowing that there they will face a different struggle.
In the last section of the novel the narrative includes chapters from the first point of view (until then the novel was told through a 3rd pov), specifically those of Talia’s American-based siblings. These chapters did not add a lot to the narrative, and they didn’t make these characters as fleshed out as Talia. Although Elena and Mauro’s relationship and struggles are certainly poignant, that their stories were being ‘recounted’ in a rather passive way distanced me from them. The switch to a 1st person narration was somewhat jarring, and I did not care for the clichéd address to the reader (on the lines of: “You already know me. I’m the author of these pages”).
The storyline would have benefited from focusing more on Talia. Although at first it seems to be hinted that she will play a big role in the story, she is pushed to the sidelines.
While I appreciated the message of this novel, I was not as taken by its execution. If you enjoyed Crooked Hallelujah or you happen to have loved Engel’s previous work, you should definitely consider picking this one up.
“Leaving is a kind of death. You may find yourself with much less than you had before.”
my rating: ★★★☆☆
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