THE PLOT: ‘The Island of Forgetting’ by Jasmine Sealey is a literary novel about a traumatic legacy that passes through generations of a family who run a beachfront hotel in Barbados. Each character longs to find themselves but they are trapped by history and family and the societal constraints of the island. It starts with Iapetus, a lonely soul haunted by the memory of witnessing his fathers’ murder. Iapetus’ son, Atlas, dreams of a better life but he struggles to leave the island and it seems like he has to bear the weight of the world on his shoulders. Atlas’s daughter, Calypso, is sensual and creative but she can’t find her place in the small, strict community. Calypso’s son, Nautilus, is both enchanted and repelled by his mother’s uniqueness, but he is hiding his own battle with parts of his identity.

SUMMARY: This is a book about memory and myth; trauma and truth. Loosely based on Greek mythology, it explores the way a family’s past can haunt its future. I’m deeply interested in the themes of this novel and Sealey executes them impeccably. The writing is so layered and descriptive, I simply cannot believe this is a debut. Touching on mental health, queer identities, colonialism, and capitalism, the number of characters and topics may feel broad, but the intimacy with each POV character and linear narrative structure helps keep you on track. This is one for my character-driven girlies who like to dive into someone else’s head and feel their emotions with them.

GOOD BITS:  Firstly, let’s clap for the writing. Sealey is a master of words. Metaphor. Simile. Long sentence. Short sentence. She can do them all, and each one creates atmosphere, reveals character and develops plot. Secondly, I think she nailed the structure. Some family sagas can feel too meandering because of the sheer time span of the characters’ lives. However, Sealey gives each POV a clear external plot within their specific timeline, which translates into an internal character arc that is demonstrated in action (not just interiority and dialogue). Finally, the characters. I fell in love with Atlas and Calypso and I was able to relate to them the most.

NOT SO GOOD BITS:  I’ll be honest, I found my interest waning slightly at Nautilus’s sections. It took me less than two days to read the first 200 pages because I was racing through the book. Yet when I reached Nautilus, I spent about a week trying to finish it. Perhaps it was the danger of their experiences becoming too similar or the pace slowing down, but I simply felt less invested. However, his sexuality and immigration storylines brought it back, and I liked the resolution.

OVERALL: I’d recommend this book to fans of ‘Omeros’ by Derek Walcott, ‘The Promise’ by Damon Dalgut (structure/themes), and ‘How to Say Babylon’ by Safiya Sinclair (poetic writing style/ imagery). This could already be a contender for my top read of 2024, so I urge you to pick this up.

If you’d like to buy this book, I don’t have an affiliate link (yet). But you can find it on Waterstones.