The Icarus Girl

by Helen Oyeyemi

Book Overview

The audacious first novel from the award-winning and bestselling author of Boy, Snow, Bird and What Is Not Yours Is Not Yours - "Oyeyemi brilliantly conjures up the raw emotions and playground banter of childhood. . . . A masterly first novel."-The New York Times Book Review

"Remarkable. . . . As original as it is unsettling, The Icarus Girl runs straight at the heart of what it means to belong."- O, The Oprah...

• Format: Paperback
• Language: English
• ISBN: 140007875X
• ISBN13: 9781400078752
• Release Date: April 2006
• Publisher: Anchor Books
• Length: 352 Pages
• Weight: 0.63 lbs.
• Dimensions: 0.8" x 5.1" x 7.9"

Customer Reviews

The Three Worlds of Jessamy Harrison

Helen Oyeyemi was born in Nigeria and moved to London when she was four. She wrote "The Icarus Girl" over a seven month period while at school, studying for her A-Levels. By the time she got her results, she'd signed a two-book deal worth an alleged £400,000. Jess Harrison is an eight-year old girl, an only child and nearly determined to be a loner. She seems nearly to be afraid of making friends, avoids going outside to play as much as possible and keeps her thoughts to herself. She also reads a great deal - "Little Women" is a great favourite and she is also very partial to Shakespeare. However, Jess often suffers from panic attacks and the occasional strange fever. Jess' parents, Daniel and Sarah, met at university. Daniel was born and raised in England, though Sarah is Nigerian and only came to England to study medicine. She promptly switched courses to study English Literature and is now a successful writer. Fifteen years after she left Nigeria, Sarah is now returning to Nigeria for the first time with her husband and daughter. Although there are some awkward moments for Sarah, meeting the Nigerian side of the family also proves difficult for Jess. While the relations she meet include aunts, uncles and cousins, her grandfather proves to be very much the dominant character : he `rules' the compound in which the family live. It's clear he disapproves of Sarah's decision to switch from medicine to English Literature and her decision to remain in England. In fact, he doesn't seem to entirely approve of Daniel either. However, there is a bond between grandfather and granddaughter - he clearly loves her and she seeks her approval. Although Jess knows she has a Yoruba name - Wuraola - her grandfather is the first person to call her by that name. Not being called Jess, however, is something that initially confuses and scares her a little. The compound in which the family lives was built in the 1870s by Jess' great-grandfather. Jess' grandfather currently lives at the centre of the compound, with an old and deserted building called the Boys' Quarters located at the back of it. It had once been home to the compound's servants, though it has now been lying empty for many years and now isn't fit for habitation. The trouble for Jess starts when she realises that someone is, in fact, living in the Boys' Quarters - apparently without anyone else in the compound being aware of it. The cuckoo is a young Yoruba girl called Titiola who becomes Jess' first ever friend. As Jess has trouble with the pronunciation, she calls her new companion Tilly-Tilly. While there are a few minor skirmishes in Nigeria, the trouble only really begins when Jess returns to England - and Tilly-Tilly miraculously arrives shortly afterwards. Her friend's arrival brings a few changes in Jess, and she learns a bit more about her life. This is a fantastic book, and one that I can't recommend highly enough. I have a great deal of admiration for Helen Oyeyemi, completing a boo

The juxtaposition of myth and reality

Eight-year old Jessamy Harrison has never been like the other girls at her school in Bromley, England. Daughter of a Nigerian mother and a British father, Jessamy is gifted, difficult, even peculiar, given to screaming tantrums and strange, febrile fevers. Jess spends hours alone, reading and drawing, seemingly content in her own company. Early in the novel, the family visits Nigeria, where a bevy of aunts, uncles and cousins await and, most significantly, her maternal grandfather, who believes in the ancestral ways but is a devout Christian. It is on this visit that the solitary Jessamy meets a new friend in an abandoned building, Titiola, whom she calls TillyTilly. Jess is delighted to have a playmate, drawn into the intimacies of young girls sharing secrets. Titiola's true identity is unclear until the family returns home, where she appears once more. TillyTilly knows all of Jess's secrets, the girls at school who ridicule her difference and lack of social skills, anyone who disturbs or makes Jess angry. But eventually Jessamy realizes that no one can see her new friend; she is invisible. It is at this point that the novel shifts from fiction to fable. Is this girl a figment of Jessamy's imagination, a panacea for her emotional turmoil, or is there a darker source, in the roots of African folklore, where spirits have the power to enter the physical realm? As the disturbing incidents increase and Jess realizes she can't control TillyTilly's appearance or her actions, fear presides, those closest to Jessamy affected by the sinister presence of this sister-friend who does or doesn't really exist. The tale beings to make sense when Jessamy's parents take her to a therapist. It is through the girl's response to Doctor McKenzie that the real image of this tormented child takes shape. It is TillyTilly who tells the shocking secret of Jessamy's birth: she was born a twin, but her sister did not survive. TillyTilly yearns to take the lost sister's place, but all is twisted around her own identity as the missing half of another twin. TillyTilly wields her power, controlling Jess, whose fright grows in proportion to escalating events. As a twin, Jessamy is a child of three worlds: "this one, the spirit world and the Bush, which is a sort of wilderness of the mind", according to Jessamy's mother. In a desperate struggle for dominance, Jess returns to Nigeria with her family, there to confront her confusion. It is here that the battle for Jessamy's soul is engaged, a fight waged between two realities, the physical and the spiritual, the living and the dead. The novel was written by Oyeyemi before her nineteenth birthday, capturing both the innocence and the deviousness of an unhappy child who cannot find a comfortable place to inhabit, a place where conflicting emotions are allowed to coexist; instead, folklore mixes with reality, the half-life of the spirits begging recognition. The Icarus Girl is imbued with the language of otherness, a fairy tale in

"Once you let people know anything about what you think, you're dead."

Eight-year-old Jessamy Harrison, the daughter of a Nigerian mother and a British father, sometimes spends five or more hours hiding motionless in the family's linen closet, attempting to find some sort of "fragile peace." Prone to uncontrollable screaming fits, both at home and at school, she also has high fevers and panic attacks, and often talks to herself. Struggling with obvious emotional problems, Jess is a bright but lonely child, with no friends, a mother who spends most of her time writing, and a father who is away most of the day. When her mother takes her to Nigeria during a school vacation, she sets in motion a series of events which ultimately leave Jess struggling to hold on to her selfhood. While visiting her Yoruban grandfather, Jess explores an abandoned building and discovers a strange girl her own age secretly living there. Titiola, whom Jess calls TillyTilly, becomes her first true friend, and though Jess explores the countryside with her, no one in her family ever sees her. When Jess returns to school in England, her friend TillyTilly follows. Jess is delighted at first, but TillyTilly begins to monopolize her time, deliberately breaking things in the house, "getting" people who make Jess unhappy, and causing accidents. Jess's parents become alarmed at the havoc, especially when Jess insists that it is caused by her mysterious, unseen friend. Then TillyTilly reveals a family secret, and the battle begins in earnest for possession of Jess's soul. Nigerian author Helen Oyeymi, who wrote this book when she was eighteen, incorporates aspects of Nigerian culture when Jess returns to Nigeria on a second visit. Oyeymi keeps the action fast-paced and creates considerable suspense as Jess, through TillyTilly, becomes physically dangerous to those around her. Only her Yoruban grandfather, who believes in magic and traditional ceremonies, seems to have the resources necessary to exorcize the demon. The novel moves along smartly, developing tension and excitement by recreating many of the nightmares of childhood, though the author's simple approach to complex problems may reflect her youth. Jess, an eight-year-old, is far too sophisticated about TillyTilly and too articulate about her fears to inspire much reader empathy, and she never feels quite realistic, especially when she herself questions whether TillyTilly really exists. Both her ultimate battle with TillyTilly and the conclusion of the novel feel artificial. Still, Oyeyemi has created a psychological horror novel which dares to be different, incorporating a clash of cultures and parallels with the Icarus legend in this memorable debut novel. (3.5 stars) n Mary Whipple

Couldn't put it down...

A fantastic debut! Oyeyemi employs elements of fantasy to evoke the very real sense of isolation and displacement that accompanies childhood. Each encounter Jess has with her mysterious friend TillyTilly is filled with the magic of being 8-years-old, where the world feels indefinite, fragmented and illogical. This is a gripping story and Oyeyemi keeps the tension building right through to the last page.

An amazing debut

Oyeyemi deftly captures the heartache of a lonely child while portraying the now-familiar story of one who is caught between two cultures with astonishing originality and clarity. Underpinning her 8 year old character's sense of alienation is a haunting and memorable tinge of magic realism and Nigerian folklore. I loved the ambiguous ending -- and at a closer read, I was surprised to discover that it wasn't vague at all.