"You have something of mine, I passed on something of me to you, and hopefully it isn't cursed. I don't know if I can leave you something that isn't dirty, that isn't dark, our share of night."
originally published as Nuestra Parte de Noche
translated by Megan McDowell
My introduction to author Mariana Enriquez was her short-story collection Things We Lost in the Fire, which I loved so much that I moved on directly to her The Dangers of Smoking in Bed, also exceptional. I was super excited for the release of this novel, Our Share of Night and I have to say that I was not at all disappointed.
It's a hot day in Buenos Aires Argentina as 1981 begins. Juan has everything ready for the long trip he is about to make with his young son Gaspar to the home of his in-laws. It's just the two of them, as Gaspar's mother Rosario had died some three months earlier, but Juan has decided that he needs the time with just his son. Juan knows he must be careful as "the repressive forces were unpredictable," and that he needed to "avoid any incidents" -- after all, Argentina was in the midst of the dictatorship period (aka the Dirty War
) and the police and the army "kept a brutal watch over the highways." On reaching the hotel where they will spend the first night, Juan, who suffers from a serious heart condition, has also taken precautions so that if he fails to wake up, Gaspar knows what to do and who to call. It is also there that Juan comes to realize that Gaspar can plainly see a strange woman in the hallway, not a living one, but an "echo," part of "the restless dead" (i.e. "discarnates," ghosts of the disappeared), "moving quickly," because they wanted to be seen. Juan sees them all of the time and has learned how to banish these visions; it's something he'll have to teach Gaspar, but of concern at the moment is that he's realized that his son has inherited his own ability to see into "the floating world." This is not the best news; Rosario's wealthy and very powerful family is part of a longstanding "secret society" known as the Order, and they have their own plans for the boy, beginning with a test to ascertain whether or not he is a medium like his father.
While I won't give too much away plotwise, members of the Order, as the dustjacket blurb notes, seek "eternal life" or more to the point, the preservation of one's consciousness after death. Juan's role as medium allows them contact with an entity called the Darkness which Juan refers to as "demented... a savage god, a mad god," and there are steep, atrocious and even inhuman costs to be paid in doing so. It is not a role he relishes -- Juan feels trapped, and even worse, he knows that he likely won't live long enough to protect Gaspar from the Order as much as he needs to. He makes plans that he hope will safeguard his son long after he's gone, but the question here, as noted on the dustjacket, is whether or not Gaspar can actually escape what has been foreordained to be his destiny.
The book moves back and forth through time and events before, during and after the dictatorship, following Juan's efforts to protect Gaspar, while simultaneously examining the horrific violence and human wreckage caused by the Order, a way to reckon with colonialism as well as the corruption and evil bred from wealth and power. Horror is the perfect vehicle to tell these stories -- as the author states in an interview at Literary Hub
"There's something about the scale of the cruelty in political violence from the estate that always seems like the blackest magic to me. Like they have to satisfy some ravenous and ancient god that demands not only bodies but needs to be fed their suffering as well"
and in a 2018 article
for the Freeman's Channel
at Literary Hub
Enriquez writes that she had asked herself
"what were the first written texts, the first horror texts that I had ever read? They were the testimonies of the dictatorship. Bodies disappeared. Common everyday houses which served as concentration camps in neighborhoods. The secrecy of it all, the negation of reality. Children in this time taken from their parents and given another name. It was phantasmagoric."
In Our Share of Night, she brings this "blackest magic" to vivid, horrific life; as with her other books, Things We Lost in the Fire and The Dangers of Smoking in Bed, this one also reminds readers that the traumatic past has the power to linger and to haunt the present. While the dictatorship may have ended, there are still the scars and shadows to be reckoned with. You need not look any further than the recurring image of the child who disappeared inside of a house and completely vanished, never to be seen again, her disappearance affecting her friends and family for years to come.
While not everyone seems to share my feeling about it, I loved this book. While I've kept any spoilers out of this post, trust me, there are more than enough horrors filling these 588 pages to satisfy any reader of the genre; there is also more than enough historical base and cultural lore to satisfy someone like me. I do think perhaps it could have used some editing here and there, but all and all, it's likely going to be a novel I will never forget, one that made such a strong impression that I've had it on my mind since finishing it. Very, very highly recommended.