Robert Antoni has established himself as one of the most innovative voices to emerge from the Caribbean and the Americas. His ambitious third novel, Carnival, takes us on an expedition that stretches from contemporary New York City to the glitter of Trinidadian Carnival, and deep into the island's mountainous interior. Narrator William Fletcher is an aspiring novelist who has come to New York to escape his affluent West Indian roots. A chance meeting in a Greenwich Village bar reunites him with two of his childhood companions: Laurence and the vivacious and stunning Rachel, William's first love. Together, the three make a liquor-soaked pledge to return "home" to Trinidad for Carnival. The festival starts with passion and pleasure, but the Carnival ecstasy slides into a fog of ganja, alcohol, and the endless calypso beat. As William, Rachel, and Laurence journey to a remote area of the rainforest to "cool down" after the festival, the three hope for a secret paradise, hidden "behind God's back," to begin anew. But even here the demons of history, prejudice, and hatred violently intrude, as the novel's startling conclusion forces them to face both the power-and impotence-of human resilience and human love.
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Robert Antoni is the author of three novels, Divina Trace (Winner of the Commonwealth Best Novel Award), Blessed is the Fruit, and My Grandmother's Erotic Folktales.
Struggling with the writer's life in New York City, ashamed of his wealthy West Indian upbringing and confused about his sexual orientation, William Fletcher is the smart, self-pitying narrator of this promising though unfocused novel, Antoni's third (Divina Trace; Blessed Is the Fruit). When William bumps into his old friend Laurence, once a poor island boy, now an Oxford-educated poet and playwright, and then into Rachel, his second cousin and first love, the trio hatch a plan to return to their native Trinidad to celebrate Carnival. For all the debauchery that is Carnival (think Scotch, marijuana, fireworks, jouvert bands), this section of the novel feels curiously bloodless, perhaps because Antoni's style tends toward short fragments ("He sat up, arms folded over chest. Breathing quickly. His chest rising, falling. Staring down at the ground") and weak transitions ("Before I had a chance to think about it..."; "Before I knew it..."; etc.) The final act of the novel shifts to a remote, mountainous region where William and friends intend to sober up from the merrymaking, but instead find themselves involved in a violent incident involving the Earth People (an isolated settlement of rastas) and a racist police force. Antoni's major themes—race (William is white, Laurence black, Rachel French-Creole) and sexuality—are good ones, but they're not sufficiently developed, and the plot feels somewhat manufactured.
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