Three Stories of Forgetting

The discrete yet overlapping tales in Djaimilia Pereira de Almeida's Three Stories of Forgetting explore the lives of three men-perhaps already dead in the eyes of God-who live within the legacies of slavery, colonialism, and the spoils of the Portuguese Empire. They are all incarnations of our despair in the face of the questions that history does not answer. In "The Vision of the Plants," Celestino, an old slave trader, returns to the solitude of his home and garden after a life of horrors. In "Seaquake," Boa Morte da Silva, an Angolan who served on the Portuguese side in the Colonial War and has become a valet in Lisbon, writes to his daughter asking for forgiveness. And in "Bruma," an old slave initiates a young Eà§a de Queiroz into the world of French literature, even as he finds himself trapped by his own demons. Left to their agony, remorse, and guilt, or undeserved peace, the three men may be tormented ghosts who cannot find rest. Perhaps the land they aspire to, their home in this world, is a place hidden in their souls, somewhere between nowhere and goodbye. Their lives are unstable chapters in postcolonial history and allegories of the reading and rereading of that history, and of literature. All three have been expelled from their lives, sent on a solitary journey into the night. The discrete yet overlapping tales in Djaimilia Pereira de Almeida's Three Stories of Forgetting explore the lives of three men-perhaps already dead in the eyes of God-who live within the legacies of slavery, colonialism, and the spoils of the Portuguese Empire. They are all incarnations of our despair in the face of the questions that history does not answer. In "The Vision of the Plants," Celestino, an old slave trader, returns to the solitude of his home and garden after a life of horrors. In "Seaquake," Boa Morte da Silva, an Angolan who served on the Portuguese side in the Colonial War and has become a valet in Lisbon, writes to his daughter asking for forgiveness. And in "Bruma," an old slave initiates a young Eà§a de Queiroz into the world of French literature, even as he finds himself trapped by his own demons. Left to their agony, remorse, and guilt, or undeserved peace, the three men may be tormented ghosts who cannot find rest. Perhaps the land they aspire to, their home in this world, is a place hidden in their souls, somewhere between nowhere and goodbye. Their lives are unstable chapters in postcolonial history and allegories of the reading and rereading of that history, and of literature. All three have been expelled from their lives, sent on a solitary journey into the night.