June 2, 2008
The volumes in Akashic's locale-based noir anthology series set outside North America (Dublin Noir
, etc.) offer more variety than those set in different major U.S. cities, and this one is no exception. The editors' brief but insightful introduction makes clear that the sun and sea tourist image of the Republic of Trinidad and Tobago is at odds with the country's “political climate of excess and corruption” and “an element of society afloat in drugs and guns.” While one entry, Robert Antoni's “How to Make Photocopies in the Trinidad & Tobago National Archives,” mostly comprising stream-of-consciousness letters to “mr. robot,” may be tough going for noir fans who prefer traditional storytelling, the other 17 stories are solid. The two standouts are Keith Jardim's mystical “The Jaguar” and Lawrence Scott's “Prophet,” in which a series of child disappearances in a small but corrupt community builds to an appropriately bleak ending.
February 15, 2009
Trinidad Noir is the best of the international entries in Akashics series. Covering the entire island of Trinidad, the stories take readers from the steamy jungle countryside to the tropical beaches and on to the city streets of the capital, where political intrigue thrives. The storiesevoke an atmosphere so strong the reader can practically feel the heat, smell the marijuana, and hear the calypso music. The authors do an especially good job with the dialogue, portraying the speech rhythms and slang of the distinctive Caribbean island.(Reprinted with permission of Booklist, copyright 2009, American Library Association.)
Starred review from March 27, 2017
To travel through the 19 works of poetry and prose in this remarkable anthology is to experience Trinidad and Tobago through a kaleidoscopic lens. The writings are grouped into four historically significant periods (“Leaving Colonialism,” “Facing Independence,” “Looking In,” and “Losing Control”). It’s an effective construct; the reader experiences island culture and history as a part of its time, formed by a pastiche of nationality, culture, and social class. Standouts abound. The central character in V.S. Naipul’s “Man-man” is a reputedly mad man in a community whose reactions to him move between bemused and violent. Harold Sonny Ladoo tells, in “The Quiet Peasant,” of an impoverished farmer who unwittingly digs his own grave. An island lilt and sharp humor spice Robert Antoni’s “Hindsight,” about a doctor confronting a singular medical condition. This is not a noir collection in the traditional crime-based sense. Instead, as noted in the introduction, the selections “direct attention to the violence of a society that has not quite settled accounts with the casualties of enslavement and indentureship.”