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Dance on the Volcano
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Review
"Trying to weave a fairy tale life from a horror story reality, Vieux-Chauvet’s heroine, Minette, rides her beauty and talent out of poverty in late-18th-century Port-au-Prince to fame onstage as a singer... [An] important book, best read as a slice of Haiti’s past rather than as a work of fiction." — The New York Times Book ReviewA "vivid, heartbreaking epic . . . Vieux-Chauvet is a tremendously gifted storyteller, compared to the likes of Tolstoy. Her work highlights the lasting trauma of racial and class oppression — detailing the ripple effects that spread from one person to the next, and infect one generation after another. But it also shows humanity’s struggle to emerge from the ashes of this hatred, and find love and beauty again ... [a] remarkable work of fiction, which will introduce a new generation of readers to Vieux-Chauvet’s exquisite writing, and its courageous calls for justice." — The Toronto Star "In Dance on the Volcano, Marie Vieux-Chauvet—one of Haiti’s finest novelists—has given us an exquisitely written portrait of Haiti’s social and political climate, one that's still eerily resonant 300 years later." — Kevin Nguyen, GQ"Vieux-Chauvet’s novel is that rare gem that takes an ambitious scope and successfully captures the social and political turmoil of a country at war . . . Those interested in Haitian history, deep explorations of social injustice, and courageous, determined heroines will find much to enjoy in Vieux-Chauvet’s masterly tale." — Publishers Weekly"Marie Vieux-Chauvet's Dance on the Volcano stands with Tolstoy's War and Peace, The Known World by Edward P. Jones, Hilary Mantel's Wolf Hall, Robert Graves's I, Claudius, and Margaret Mitchell's Gone with the Wind in its extraordinary power to bring all the nuance and complexity of a long-gone society so vividly before our eyes. With what's going on racially and politically in the United States today, now is an excellent time for this masterpiece to appear in English – and in a translation which does full justice to the great beauty of Vieux-Chauvet's prose." — Madison Smartt Bell"Kaiama L. Glover’s translation is fluid, remaining faithful to the elegance of Vieux-Chauvet’s prose while navigating the stylistic concerns inherent to recreating a work written in the 1950s and about the colonial life of the 1790s, for a 21st-century audience...Minette’s story, more than anything else, is about having “a seat at the table,” to use the current resignification of that phrase. For a book written about the racial climate of a late 18th-century French colony, there is an eerie familiarity to the questions it raises about how a person of color earns that seat, and what consequences come along with sitting at the table in a world of institutionalized racism." — Bronwyn Averett, The Quarterly Conversation"[A] vivid, heartbreaking epic . . . Vieux-Chauvet is a tremendously gifted storyteller, compared to the likes of Tolstoy. Her work highlights the lasting trauma of racial and class oppression — detailing the ripple effects that spread from one person to the next, and infect one generation after another. But it also shows humanity’s struggle to emerge from the ashes of this hatred, and find love and beauty again ... [a] remarkable work of fiction, which will introduce a new generation of readers to Vieux-Chauvet’s exquisite writing, and its courageous calls for justice." — Tara Henley, The Toronto Star"A heroic and triumphant tale of social ascension." — Curtis Small, San Jose State University"sharp and beautiful. . . A classic piece of historical fiction, few novels can compete with this one’s combination of personal passion and cultural consciousness." — James Crossley, Island Books"Dance on the Volcano is one of the the rare, or rather the only novel about the events that took place between 1789 and 1804, written in the 20th century in Haiti." — Anja Bandau, Free University of Berlin"Dance on the Volcano is not limited to historical clichés, but rather opens up the possibility of the fantastic." — Maurice Joseph, University of Haiti"With the help of translator Kaiama L. Glover, the reader gets a sense of what it was like to be living on that metaphorical “volcano” known as Saint Domingue that eventually erupted...there are moments of beauty throughout the book, especially when Minette is singing. One becomes so convinced of Minette’s ability to enchant that one wishes it came with a soundtrack. Sadly, the real-life Minette died long before the age of recording. However, while the music may be lost to time, thanks to Chauvet’s book, the person who helped to break down racial barriers during a tumultuous time in Haitian history will not be." — Christopher Iacono, Five 2 One Magazine"The story is soft and cruel, sweet and bitter like the savors of the Caribbean, which make you smile and grit your teeth at once." — Catherine Hermary-Vieille"Like a knife thrust into the sexual, social, racial, and political passions of a provincial town" — Libération"In three movements as somber as they are striking, Marie Vieux-Chauvet explodes Hatian society in the time of dictator François Duvalier, in a classic style stripped of all exotic lyricism.... None of the dark forces that shook the country during this tragic period are forgotten in this novel-manifesto, from which no one comes out innocent." — Le Monde"Chauvet was nitroglycerin. She set her sights on an illness ravaging Haitian society" — Dany Laferrière"[Dance on the Volcano] is crucial to a complete understanding of the violent conflict that overtook the country, and the revolution’s importance in world history . . . These racial and political images of Haiti more than two centuries ago, written sixty years ago, remain timely today in that nation, and resonate in the United States. In both countries, “a state of perpetual tension … produce(s) a strange heaviness in the atmosphere.” That volcanic tension keeps erupting, here and in Haiti." — Consequence Magazine
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About the Author
AUTHOR: Marie Vieux-Chauvet (1916-1973) was a Haitian novelist, poet and playwright. Born and educated in Port-au-Prince, her works include the novels Fille d'Haïti (1954), La Danse sur le Volcan (1957), Fonds des Nègres (1961), and Amour, Colère, Folie (1969).TRANSLATOR: Kaiama L. Glover received a B.A. in French History and Literature and Afro-American Studies from Harvard University and a Ph.D. in French and Romance Philology from Columbia University. She is now an associate professor of French at Barnard College. Her book, Haiti Unbound: A Spiralist Challenge to the Postcolonial Canon, explores the Haitian Spiralist movement. She has taught English at Stanford University and French at Barnard College and Columbia University, sits on the editorial boards of the Romanic Review and Small Axe, and regularly contributes to The New York Times Book Review.
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Product details
Paperback: 496 pages
Publisher: Archipelago (January 10, 2017)
Language: English
ISBN-10: 091467157X
ISBN-13: 978-0914671572
Product Dimensions:
6.1 x 1.3 x 7.5 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#902,339 in Books (See Top 100 in Books)
I’ve always had an interest in the Haitian Revolution, as the only slave rebellion to have produced a free state ruled by former slaves and free non-whites. Marie Vieux-Chauvet’s novel gives a different perspective than that of the history books, following one character’s experience of pre-revolutionary Saint-Domingue and the beginning days of the revolution itself.The principal characters and events are real — Vieux-Chauvet wove her research, focused on that one character, Minette, a “free person of colorâ€, into an historical novel.The book begins in the years leading up to the revolution in late eighteenth century Saint-Domingue, to become free Haiti. Minette is a young girl, living with her sister Lise, and her mother Jasmine, who sells scarves and other items on the street in Port-au-Prince.Minette is gifted with a magnificent singing voice. Once trained by a benefactor, the white Creole actress Mme Acquaire, Minette experiences a much broader spectrum of life than someone of her class in colonial Saint-Domingue would normally experience. She performs at the Comédie of Port-au-Prince, despite a ban on non-white performers. The public’s appreciation and admiration is so great that even the most ardent opponents of rights for non-whites are compelled to allow her exception.Living the life of a young girl in Port-au-Prince, in the small world of her family and friends, conditions could just be what they were. But as she takes on a role as a performer for the privileged classes of planters and slaveowners, she sees more. She sees within the households of white planters how slaves are routinely tortured, how freedmen (and women) are regarded as less than human. And she sees, in her own case, how her talents will get her only so far — she becomes, at best, a privileged member of an unprivileged class. She can sing for the privileged classes but she is being granted an exception for her talent only, not for herself. She learns the word “injusticeâ€.Minette also falls in love with a person who wraps up what may be inevitable contradictions in pre-revolutionary Haitian society. Jean-Baptiste Lapointe is a free, slave-holding black man. He fights against the wealthy white planters, in tenuous alliance with a group of rebels who help both the free but oppressed and the enslaved. But he abuses his own slaves and treats them with utter disrespect, reveling in his own position of power and privilege. Minette’s turn toward rebellion is also a turn against her lover’s character, if not completely against himself.Minette, Lapointe, and many other characters in the book are true, historical figures from revolutionary Haiti (as are the events depicted in the novel drawn from real historical events). Vieux-Chauvet arrays the characters in such a way as to portray a spectrum of virtues and vices — unrebellious mulatto women doing their best to thrive and survive in a world where they have no power, dedicated warriors who risk everything, sympathetic whites who do what they can, . . . I’m not in any position to judge how accurate the personal portrayals are — I suspect they are almost certainly cleaned up to create a dramatic and edifying novel.The book was originally written in 1957 but is only now translated into English. Vieux-Chauvet’s writing is dramatic in tone, even over the top (even given its subject matter) at times, kind of the way that acting in silent movies is over the top, as if straining a bit to convey and emphasize emotion and meaning. But this was one of those books I read more compulsively the farther I got into it.Obviously, I wouldn’t substitute a novel for history. In fact, reading Vieux-Chauvet inspired me to look at some of the same research she presumably relied upon (see Jean Fouchard’s historical writing), as well as other sources (see the more recent Avengers of the New World by Laurent Dubois). I’d also recommend Yanick Lahens’ novel of Duvalier-era Haiti, Moonbath, for a portrayal of modern village Haiti.
You know those books that as you're reading (and appreciating) them, you start to think that actually, this book might just make a better movie than book? That's a little bit how I felt with Marie Vieux-Chauvet's generally great, occasionally frustrating Dance on the Volcano. The book feels like it has so many different plot points (some distinctly better than others), with an underlying visual quality that made me feel like this would perfectly translate into an amazing period drama (Hollywood, hit me up).Dance on the Volcano tells the story of Minette, a young Haitian woman with a beautiful singing voice who becomes the first "colored" woman to perform in the higher circles of Haitian society. The story directly addresses racism, class differences, colorism, slavery, and more, with the plot covering a period of great unrest in Haitian history. Yet it does all of these explicitly through Minette's eyes, who grows and matures over the course of the story and begins to form her own opinions about the tragedies occurring in her home. It's an often-powerful text, occasionally bogged down by odd stylistic choices (phrases alternating between being very modern and very old-fashioned) and some overplotting (with one subplot that I mostly understood the intellectual merit of, but hated on a personal level).This is a story of a history that I imagine most readers were as unfamiliar with as I was - not simply Haitian history, but Haitian culture and culture clashes. Dance on the Volcano is sure to be as interesting an introduction to you as it was to me.
A beautiful book and beautifully translated!
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