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noted two distinctive stylistic elements of the novel: first, like many of Farah's earlier novels, the novel is set during the midst of a country in rapid transition, Kenya, and thus explores the chaos of that change; and, second, the novel has a focus on grief. Lalami notes: "The rewards of reading
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critic Laila Lalami largely praises the novel, describing its depiction of grief as the most rewarding part of the novel. She writes: "Farah is particularly adept at evoking the way in which the sight of a familiar face or place can trigger painful memories."
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critic Ron
Charles praises the novel's thematic interests, but "as an engaging novel, it's less successful". He attributes this to both the "blandness of its prose" and the "plot's allergy to any sustained tension".
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similarly gave mixed reviews, noting the poor style, yet describing the plot as having "drama and direction" where Farah successfully represents "racial tensions and violence commonplace in many
African cities".
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focus on the socio-political themes of the novel. For
Charles, the novel highlights many of the problems related to African prejudice for homosexuality, terrorism, familial relations, and the results of the
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critic Colin
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lie in Farah’s sensitive exploration of grief and his depiction of a family's love for one another."
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describes the transitions between characters as "abrupt and ultimately jarring".
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critic Claire
Hazelton called it "poetic but too often lacks imagination".
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The terrorist attack that starts the novel is very similar to the one that
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works, in order to accurately represent Bella's work as a photographer.
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restaurant similar to the events he had described written in his draft.
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of the novel received poor reception from a number of critics:
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While preparing for writing the novel, Farah had to learn how
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25:. For the 2020 nonfiction book by Sarah Kendzior, see
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249:critic Ron Charles called the prose "bland", and
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