It is delightful to read of a woman having such adventures in the early 20 th century without apparent trace of gender resistance or romantic overlay.  Perhaps it is the wildness of Africa that allows this, or perhaps self-editing, but either way, Beryl Markham’s memoir  furnishes a shining example of the non-universality of our commonly held stereotypes.

As a writer, Markham tends to the florid, as is typical of her era.  Still, she can kindle excitement at a chase, and when it comes to her own actions, she leans to dryness and understatement.  One actually wonders if a biographer might expose even more drama in this material than does the subject herself.  The Africa of which she tells has plenty of inequality, though the racism which underlies it seems, in what is perhaps a Colonialist’s view, genteel and respectful.  Of course there is plenty of exploitation going on beyond the horizon, setting the stage for later, less sanguine, interactions.

An enjoyable and eye-opening artifact of time and place, as well as a glimpse of an admirably independent spirit.

A work which grows, as one progresses through it, from anecdote, to story, to fable.  Dorris effectively manipulates the reader by telling first the tale of the youngest of three women – Rayona – inviting us to form opinions (or judgments, given the poor nature of some of her choices) of her character and actions.  He then proceeds to tell first her mother’s – and then her mother’s – stories, overlapping, braiding and, in the process, shattering our neat conceptions about what is good or bad, and who is right or wrong, victim or abuser.

Dorris’ prose is generally straightforward, allowing objects, events and his characters’ thoughts to tell the story.  Only occasionally does it rise to more florid description, but it is the detail and personalities which make the story seem so real, the women totally convincing even when their actions are not ones with which many readers may sympathize.  That, and the author’s even-handed telling, which seems to reflect the moral conviction with which his bio suggests he lived his too-short life.

A work which has its own objectives, neither the quick entertainment of the popular novel, nor the showy intellectualism of the academic, but an honest desire to tell of people too easily forgotten, and thru them reveal a bit of basic human truth.