Hurricane Season has been sitting in the pile of books I’m planning to read for some time. It has sat there in its handsome Fitzcarraldo Editions blue jacket for some time having come to my attention earlier this year. And now it has come to the top of the pile, and I am glad to have read it and glad too that the reading is over, because it is quite a tough book. But also very exhilarating, because of the headlong, hurtling style of the writing.
Fernanda Melchor is a Mexican writer, and this is her second novel and her first book available in English translation. The novel won an English PEN Award, and it is an important and outstanding book. It was translated from the Spanish by Sophie Hughes and is a remarkable achievement in itself.
The novel is set among the inhabitants of the small Mexican village of La Matosa. The village is impoverished despite the highway than runs nearby, carrying the huge trucks of the oil industry.
In the opening chapter the body of a witch is found by children in an irrigation channel near the village. The crime was committed by two young men, both of whom are losers. Neither the question of who did it or why are central to the meaning of this novel. The crime is almost incidental in the lives of several people. We enter into five lives in turn, having learned something of the background of the witch herself, an isolate living in a house outside the village, providing cures and potions for the sick and afflicted, and wild parties for the young men.
In turn we read of the inner life, inner voice of five characters who are associated with the death of the witch. Yesenia had grown up with her stepbrother, Luismi, but hates him and the special attention their grandmother gave him. She observes him loading the body into the van and shops him to the police.
Luismi is a pathetic and hopeless young man who has rejected his grandmother and moved in with his mother and her husband. He has not got much going for him. He has no employment but believes that he will be offered a lucrative job in the refining business, promised by ‘a friend’. It is clear that this potential job will never materialize and Luismi is drifting until he meets Norma.
Munra, is his the stepfather who drives a van, involved in the crime. Munra used to be a fit and good-looking man but was hit by a truck in an accident and is now unable to work. He lives off his wife and what he earns from driving his van. He has no future either.
Norma is 13 and running away from her impoverished home. She has been taking care of the children her mother has by different fathers. She is much neglected and dismissed by her mother. Her stepfather, Pepe, grooms her and eventually makes her pregnant. She runs away, as far as the town near La Matosa, where Luismi finds her in the park. It is as far as her money will take her. Luismi and brings her to live with him in his shack, unaware of her pregnancy. Luismi’s mother takes Norma to the witch for an abortion. She bleeds so badly she goes to hospital where she refuses to accuse anyone of making her pregnant and so is detained.
Brando is the most deadbeat and hapless of all these characters. He appears to have no redeeming features, no moral compass at all, despite a mother heavily influenced by the church. He is high most of the time and earns money as a male prostitute. His aim is to escape La Matosa and plans to steal the witch’s money in order to do this. He is ready to kill his accomplices too, but the police catch up with him before he can do this.
Everyone seems to believe the witch has heaps of money hidden in her house. The truth is much more macabre.
The writing of Hurricane Season
This is a bleak novel for it is clear that the lives of these people are dominated by drugs and poverty. Sex work is the major employment for women and boys. Violence is endemic. Parents hit their children, boys hit each other, women are hit by everyone.
The writing that conveys this unstable environment is breakneck, headlong. The chapters have no paragraph divisions. Some are more than 50 pages long, requiring the reader to continue without a break.
The language is coarse, colloquial, full of invective, curses and colourful insults. Since we are largely within the heads of each of the main characters, we are unable to escape the contempt in which people hold each other, their fury at broken hopes, their grinding misery. It is vivid and very raw. The translator Sophie Hughes is to be congratulated for achieving this effect in English without it appearing stilted or contrived. Here’s an example.
It made Yesenia’s blood boil whenever she got to thinking about it, with an anger that made her guts throb, every time she thought about that ungrateful little prick and what a fool Grandma had been to tell Uncle Murilio she’d bring him up, when she knew full well that the slag he was seeing was a professional whore who’d open her legs for anyone with a deep enough pocket. (38)
And another example:
And the Witch, who throughout the whole exchange just carried on tinkering about in that noxious kitchen with her back to them, turned and stared at Norma, her eyes sparkling behind her veil, and after a long silence she said that before doing anything she had to examine Norma, to see how far gone she was; and right there on the kitchen table they laid her on her back and hitched up her dress and the Witch pressed her hands all over Norma’s stomach, roughly, almost angrily, perhaps enviously and after a few minutes of groping around the Witch told them it was going to be tricky, that she was already really far gone … (150)
That second extract is all one sentence which doesn’t finish for another 25 lines.
The story is not told in a linear way, but rather through the involvement and back stories of those five characters.
And in this way the author lays bare the wretchedness of this element of Mexican society, where drugs are supreme, and the currency is sex. Violence is everywhere, especially towards the weaker people, the women and girls.
Hurricane Season by Fernanda Melchor first published in 2017. The English edition was published by Fitzcarraldo Editions in 2021. 226pp
Translated from the Spanish by Sophie Hughes
Winner of English PEN Award, shortlisted for the International Booker Prize 2020
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