Book Review: Monkey’s Wedding

Monkey’s Wedding by Rossandra White

2017 Independent Publisher Award Medalist
2017 National Indie Excellence Awards Finalist
2017 International Book Awards Finalist
2017 Paris Book Festival Awards Honorable Mention

Rossandra White is the author of the multiple award-winning

Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog

Anyone who has ever witnessed a sun shower and is asked about it later likely experiences a variety of curious and immediate memories. For myself, two branches of thought come together, starting with my mother’s frequent assertion that rain on one’s wedding day is good luck. This merges with the historical status of animals as purveyors of phenomena explanation in such folkloric expressions as monkey’s wedding, which refers to rain falling when the sun is shining brightly. It is magical and wondrous, typically a short-lived event that nevertheless has the capacity to elicit thrill and awe at nature’s fantastic contradiction. Perhaps people once witnessed a group of monkeys acting joyfully during a sun shower and related it to what made sense to them, deciding the simians must be on their way to a wedding.

In my own memory a monkey’s wedding really is magical, and so, might I add, is Monkey’s Wedding. Author Rossandra White brings the theme to bear on her novel starting with the cover’s color tones—dark profile of a hut and baobab tree set against the bright, hot orange and red of the sun and sky to the contradictions throughout, sometimes so subtle we don’t recognize their droplets as they nevertheless work out as part of the situations within which they exist.


Jiminy. That’s what she called her baby brother, instead of James or Jimmy. He reminded her of that little cricket from Pinocchio: head too large for his bird body, all that thick black hair, and when he wasn’t crying or vomiting, he chirped.


Elizabeth and her British parents live in 1950s Rhodesia, members of a society in transition as indigenous peoples begin to demonstrate their resentment of white rule. Annie, Elizabeth’s expectant and often moody mother, seeks to keep her daughter separated from “those kaffirs” even while the girl is developing a disallowed friendship with Turu, son of Nelson, the family’s houseboy (an ordinary but telling appellation). Though she reveals to her mother he is nasty toward his son, Annie tends to be focused on how the help are “getting bolder.” The pair maintain a strained relationship and Elizabeth’s father plays peacemaker, though she at times agrees with her mother’s assessment.

Turu, too, evades suspicious adult eyes as he navigates through time with his grandmother, a Shona high priestess who has chosen the boy for a position he severely doubts he can fill. White expertly shifts between perspectives, revealing some but not all there is to know from any given quarter. Her narrative is also tinged with a feeling of silent mystery, as if we are approaching something that knows we are there, and the sense of expectancy is heavy as Anesu the priestess seems to speak for our benefit, all the while enjoying our unfamiliarity, playing us a bit as she leads us along a path we know not.

The plot’s parameters widen, and we see Elizabeth and Turu off on their escapades, ordinary activities for children—even their plot to steal extra sherbit from the shopkeeper— were it not for the underlying, unspoken awareness of their race differences. Each child harbors thoughts about the other’s race and its implications, though they also spend time exchanging information and peacefully learning about one another. The book’s title reflects their friendship as they sustain a mostly productive relationship amidst societal shakeup. They do row on occasion, their tiffs sometimes being related to the increasing temperature and pressures of racial tensions booming over their heads, but their childhood wisdom often sets right derailed moments and each achieves opportunities to see for themselves who the other really is.

As the author steers us through events, discord amongst the unseen occurs too, as ancient spirits demand reckoning, pulling Turu into events in ways that confuse and shake him, and Elizabeth seeks a path into a world hidden from her, all while in plain sight. With Elizabeth, we catch proverbial glimpses of another world, perhaps with some recognition as Anesu performs chants and prepares poultices, admonishes Turu’s avoidance of his duties and bestows upon Elizabeth something that recognizes a connection even she doesn’t quite understand. Exotic though it may seem, it offers a real alternative to Elizabeth while powerful forces of both worlds thunder over their lives, threatening everything they know.

Thanks to White’s proficiency in winding through varying perspectives, scenes and histories, details are deliciously different yet also familiar, and we find that identity isn’t always what we might have previously experienced. Amidst exposure to traditional mythology, we also encounter a moment in which Turu’s handling of a modern machine is optimal given Elizabeth’s inability to do. There is, of course, the male/female stereotype to consider, but Turu’s ability to get the car running also highlights the reality that this mechanical place is also his world, whatever his ethnicity. Afterward,

 [a]lmost right away, it felt as if Jasu, God of the Sun, had turned his face toward them. The deep green of the sisal turned to hard green, scrubby grass the color of a lion’s haunch. The smell of rain hung in the air. On the distant horizon in front of them, the huge baobab tree beside bwana van Zyl’s shop looked like a fat stalk with tiny twigs branching upward. Acacia and other thorn trees dotted the veld. Three hundred yards away, five eland buck appeared out of nowhere and floated on a heat wave past the jagged outline of his people’s ruins.

Later, Elizabeth joyfully shifts attention to the ongoing monkey’s wedding, explaining to Turu about making a wish. His dismissive attitude highlights awareness of their shifting, sometimes merging, roles when she owns the superstition and he practical modern knowledge, bringing to delightful life the novel’s epigraph, an African proverb about sharing paths. White doesn’t spell any of this out, which is part of what makes it so superb. She allows her characters to be who they are, retaining the emotional or mystical nature of any given moment by employing a beautifully minimalist style.

Having said that, it should be noted that the author also brings to life these amazing events with imagery so stunning it provokes the senses and emotions, allowing readers to experience the moments as well, easily calling to mind scenes both reminiscent and foreign, whether ordinary or exceptional, a further union of opposites.

After tea Elizabeth headed for her bedroom, where she lay on her back on the cool cement floor. The tin roof creaked as the sun beat down on it. In minutes, she was asleep.

*

Night had spread its blanket over everything.

*

 The air stirred around her, and she opened her eyes. A short distance away, down a gentle slope, sat a hut with walls the rich color of a gazelle’s hide and thatch that was plump and golden. A strange, mesmerizing, blue-tinged fire burnt in front.

*

 He returned with the milk and plunked the bucket on the table harder than he meant to. Milk sloshed up. The small brown creature on the other end of the table gave a short jerk of surprise and blew a spit bubble.

The contradictions rain down on us throughout the book, though sometimes so subtle in application it’s as if a shower has passed us before we had time to register it. Black and white, magic and ordinary, resentment and joy, life and death, young and old, outspoken and voiceless—these and more mingle with one another, like a monkey’s wedding, inspiring those it touches as they at times recognize a spiritual connection made between a twain that ordinarily “shall not meet.”

While Monkey’s Wedding now is amongst my top five reading recommendations for those wishing to know more about Africa, I’d also add that part of White’s dexterity in storytelling is that this tale could have happened nearly anywhere, simultaneously being particularly African, further adding to her mastery of fluently combining the unlikely. Set in 1953, it also is a timeless tale, evocative, magical as its spirit, like those within, wisping in and out of environments, maintaining an absolute embrace of our senses while setting us completely free to imagine.

About the author …

Rossandra White, a fourth generation South African, spent the first twenty-three years of her life in Zambia, where she had a baboon for a pet and learned to tell a log from a crocodile. As well as Monkey’s Wedding, she is the author of the memoir, Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog, published by She Writes Press. At the moment, she’s working on finishing another novel, Mine Dances, the sequel to Monkey’s Wedding. She lives in Laguna Beach with her two Staffordshire Bull Terriers, with whom she fights for space in her bed. When she’s not writing, she’s at the gym or hiking the hills behind her home.

Readers can keep up with the author at her website, Twitter and Facebook.

Monkey’s Wedding may be purchased at Amazon and Amazon UK.

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Author image courtesy Rossandra White

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The author provided a copy of Monkey’s Wedding in exchange for an honest review. 

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Book Review: Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog

Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog

by Rossandra White

Winner of Feathered Quill’s Silver Award for Memoir

IndieFab Finalist in Foreward Reviews’ 2014 Book of the Year Award

Beverly Hills Book Award Finalist 

Someone once told me that releasing a first book is akin to hanging one’s soul on a meat hook in a display window for all to see (something like that), and I had to admit that was a pretty good assessment. So when I first received Rossandra White’s debut work, Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog, I remember thinking it was rather brave of an indie author to release a memoir as her first book.

But White carries her own in this fantastic tale that opens to the morning rhythm of a battered relationship, related in a wry tone that immediately grabs the reader with its spirit, honesty and affection. She likes when she has her semi-estranged husband’s company in the morning and the dogs Sweetpea and Jake’s loveable antics are on display, though the couple’s opposing perspectives continue to drive them apart.

Then, just like that, she comes home from work that evening to a note that reads: “Gone to Mexico. Adios.” But it’s happened before. She isn’t shocked. What gets her is the non-conversations they have as she tries to understand.

 “Okay, so are you finally going to tell me what’s going on?”

“What do you mean?”

“Why do you keep doing this?”

“Doing what?”

 And so the author brings us on a trip down memory lane via stories set in Laguna Beach and her native South Africa, acquainting us to her past experiences with so many of those who have been important parts of her life, including her husband. She tells it like it is, accepting blame as well as assigning. Her style is spare, words economical, yet they are powerfully packed with emotion and layers of element that beckon us to follow her, then wollop with detail that springs up seemingly from nowhere.

Within minutes the three of us were walking down our rustic dead-end street toward Laguna Canyon Road and the beach, the dogs trailing their leashes. I had to pass Larry’s green van, dubbed the “Love Cage,” parked in the vacant lot next door, a forlorn sight without the battered VW beside it. That van was where we first made love. It was our motel on wheels for a trip up to Northern California ten years earlier to reunite with his two youngest adult daughters, missing for seventeen years after his ex-wife kidnapped them.

Of course, this suddenness reflects many of White’s own experiences, which she deftly analyzes, looking for clues pointing toward the reasoning behind different events, and succinctly illuminating what she finds. In this manner she transports us through episodes, including with her mentally and physically handicapped brother, Garth, back in South Africa and her beloved pets, one of whom, Sweetpea, is diagnosed with a terminal illness.

The book’s compact size is a testament to White’s skill in storytelling, which for some other authors takes a much larger space to do. And it isn’t only economy, but also how she navigates two parallel threads that run linearly until they meet, also representing a time when she herself made the necessary choices regarding addressing the issues once and for all, including her own role within them.

White’s honesty is searing, but the compassion inherent within—from the author but also others, including her husband—and her writing style brings readers into the story as we journey through the years from childhood and miles of South Africa to California. We are so connected with her telling that we shudder or rejoice at her triumphs, embarrassments, fears and achievements, even smaller ones that reflect her coming into her own.

The contradiction reflected in White’s title—the holding fast while still letting go—is a state of affairs the author lives with and we see through most of the work: conversations that say nothing, living apart in the same house, attention weighted with neglect. This plays out in other ways as well, such as her own dedication across thousands of miles, and as she begins to recognize a great deal more self-sufficiency in those she is tasked with caring for, the bearers of whom provide her, in their own unique ways, with a sort of comfort in return.

It is telling to say that the day I received the book in the mail I read five chapters on the way home. The compelling narrative finds in readers a little bit of who each of us are as we seek out our own paths. White subtly deconstructs the past, her journey laden with frankness and humor as her language wraps around us, settling in comfortably in its ability to mirror our own experiences, at the same time being very much her own story. Punctuated with photos giving glimpses into her childhood, as well as matching stories throughout the book, Loveyoubye is a story of growth and forgiveness, an examination of the meaning of love and how to care for one’s self as well as others. Poignant, heart-rending, sweet and funny, White’s dexterous vision and storytelling strength brings together and reconciles opposing worlds, a union that comes with a cost, but one she brilliantly reveals without regret.

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About the author…

Rossandra White, a fourth generation South African, spent the first twenty-three years of her life in Zambia, where she had a baboon for a pet and learned to tell a log from a crocodile. She is the author of the memoir Loveyoubye: Holding Fast, Letting Go, and Then There’s the Dog, published by She Writes Press, and two, as yet, unpublished novels, Monkey’s Wedding and Mine Dances, set in Zimbabwe and Zambia respectively.

whiteShe lives in Laguna Beach with her two Staffordshire Bull Terriers, where she writes and blogs about the wild old days of her childhood in Africa as well as the wild new days of her life in America.

Readers can keep up with the author at her website, Twitter and Facebook.

Loveyoubye may be purchased at AmazonBarnes & Noble and Kobo.

Added notation: Monkey’s Wedding, set in 1950s Zimbabwe, is now available at Kindle and IngramSpark.

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Author image courtesy Rossandra White

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The author provided a copy of Loveyoubye in exchange for an honest review. 

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