She gets involved with Adriaan, a married father finalizing a divorce. Outside of work, the narrator wants what anyone moving alone to a new city wants: friendship and love. The narrator dryly observes, "I even forgot who I was waiting for, only that I was waiting for someone who might never arrive, and that I might never leave this vestibule." The accused and the narrator develop a Hannibal Lecter/Clarice Starling dynamic, with the narrator simultaneously drawn to and repulsed by the accused's remorselessness. When the narrator must interpret for an African head of state accused of enforcing Sharia law and numerous crimes related to the persecution of women, Kitamura portrays the accused's intake process as an hours-long exercise in bureaucratic drudgery. The narrator points out that the Court primarily prosecutes crimes against humanity in African nations, becoming an "ineffectual" instrument of "Western imperialism." Of the building that the Court is housed in, the narrator observes "the modern architecture still seemed incongruous, perhaps even lacking the authority I had expected."īook Reviews Fires Burn - At A Distance - In Unnerving 'Separation' Readers will get a sense of both the importance and the futility of the International Criminal Court. Kitamura seems to intentionally test the boundaries of how little biographical information an author can reveal about a protagonist while still making the reader feel intimately connected to them.
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Even her age and ethnicity are murky and, strangely, rarely commented upon.
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We know only that the narrator came to The Hague by way of New York, her father has just died after a long illness, and her mother has returned to Singapore. and its extremity." She's a new interpreter at The Hague, responsible for the banal function of translating legal proceedings for extremely evil defendants: genocidal former heads of state. The unnamed heroine of Intimacies, Katie Kitamura's fascinating and mysterious new novel, observes that "none of us are able to see the world we are living in - the world, occupying as it does the contradiction between its banality.