As for flaws, Raj felt that there wasn’t character development for some of the auxiliary figures. Daniel disliked the self-centeredness of Miranda. And Brian couldn’t get into the book until the second half where male characters are eliminated from the narrative. The novel, he noted, could be funnier. Aaron argued that Oyeyemi is trapped in a bind: she wants to write on women oppression but it is almost impossible to write “pure” feminist texts, like Gilman’s “Yellow Wallpaper,” that claim patriarchy drives women mad since the 21st century isn’t a patriarchal system anymore for UK where the book is set. In the end, Aaron claimed that there is no message in the novel, a beautiful nothing.
Although this was a fruitful discussion, we couldn’t phantom (PUN!) several things, such as the metaphorical possibilities of the house, the ghosts, the eating disorder, soucouyant, and goodlady; the use of different narrators; the style of using one word to connect the passages.
But Brian suggested that pica, domesticity of women, and circularity of narratives stem from the inescapability of structural patriarchy. Raj added that perhaps stopping reproduction is to stop the cycle of oppression of women.
Brian alerted us about the title and house as an allegory of British immigration laws, keeping black people out.
Strong woman characters are always a favorite: Raj liked Sade, a strong black independent oracle woman, while Brian, Ore, a well-rounded character with surprises. Daniel observed that the strong female characters are blacks.
We ended with nice words for the book: it makes a good movie (Raj); the kissing scene is well-written (Brian); pica is a fascinating topic (Daniel); and it is poetic (Aaron.)