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Praise for Earl Lovelace’s earlier novels

“The Dragon Can’t Dance is a landmark, not in the West Indian but in the contemporary novel. . . . Nowhere have I seen more of the realities of a whole country disciplined into one imaginative whole.” —C. L. R. James, author, The Black Jacobins

“Generous, torrential prose that seems to hold every complexity—of history, of ethnicity, of reason and magic alike—within its rushing energy.” —New York Times Book Review

“Salt is a book of great beauty and force which is going to take its place as one of the classics of twentieth-century world literature.”

—Judges of the 1997 Commonwealth Writers’ Prize

“Lovelace expresses powerful and often subtle ideas with memorable directness.” —Chicago Tribune

“A defining and luminously sensitive portrait of postcolonial island life. . . . A poignant, beautifully crafted tale.” —Kirkus

“[Lovelace is the] consummate Caribbean man-of-letters.”

—Publishers Weekly

“Distinguished Trinidadian novelist Lovelace writes fiction as syncopated, sinuous, and irresistible as the calypso music that punctuates the lives of his poor but proud characters. . . . Lovelace peers beneath the rigid structure of island society into the desiring hearts of men and women struggling for recognition, respect, and love. . . . As Lovelace masterfully choreographs the dance of each of his finely drawn characters, he reveals the conundrums not only of Caribbean life but of the human condition itself.”

—Booklist

“The Dragon Can’t Dance is a wonderful work filled with depth, insight, and truth. While the story is grounded in the milieu of Trinidad, its message is universal and timeless.” —Multicultural Review

“Superb lyrical writing and a moving sense of history being enacted in the lives of individuals.” —Mail on Sunday

“A deeply affecting and satisfying novel distinguished by intense lyrical writing.” —The Observer

“Carnival leaps out of these pages with deafening steel bands, pageantry and dance.” —The Daily Telegraph

“Lovelace writes with a singularly truculent acuteness, both in narrative and in the dialogue which captures West Indian speech rhythms so convincingly. . . . The Schoolmaster is quite unlike anything a British author could produce, being its own enviable thing, absolutely.” —Robert Nye, The Guardian

“Earl Lovelace’s writing has a picturesque yet dark energy, with a carnival snaking through the novel like a dangerous spine.”

—The Guardian

“Earl Lovelace writes like a man who has just discovered language and is amazed. Each word is a revelation.” —The Times

“A novelist of intelligence and sensibility.” —Sunday Times