CONFRONTATIONS

Simone Atangana Bekono studied creative writing at the ArtEZ University of the Arts in Arnhem. Her debut poetry collection, how the first sparks became visible, was awarded the Poëziedebuutprijs Aan Zee for best first book of poetry. She lives in Amsterdam.

“Unpicks the stitches of a young life prematurely defined by violence. Crime, punishment, privilege and racism are explored with the unsentimental, stark precision of a poet’s pen. Simone Atangana Bekono is one to watch.” —Alice Slater, author of Death of a Bookseller

“A moving study of how quietly pivotal events build over time to fuel rage...I sighed with Salome, laughed with her, dreamt with her, was frustrated for her. This novel will compel you to reconsider what rehabilitation means, and will follow you beyond the final page.” —Theresa Lola, author of In Search of Equilibrium

“Lyrical…perfect for readers who value in-depth characterization...Atangana Bekono does a fantastic job of exploring the internal conflict of wanting to fit in while also hoping to hold society to account.” —Booklist

“A tightly wound, forcefully lyrical debut novel by an award-winning Dutch poet . . . A psychological mystery whose solution resides in self-discovery.” —Kirkus Reviews

“Salomé’s sharp, voice-driven narration captures the tedium and frustrations of her sentence as well as the depth of her adolescent angst...This one’s hard to put down.” —Publishers Weekly

“A sensitive, moving, and insightful story about an incarcerated teenage girl coming to terms with her social identity, self-understanding, and dreams...With moments of utter beauty, Atangana Bekono captures the anguish of degradation, the desperation of rage, and the loneliness of Salomé’s experience at the margins of two cultures.” —Erin I. Kelly, Pulitzer Prize Winning co-author of Chasing Me to My Grave

“One of the best debuts I’ve read in years. Atangana Bekono’s raw scenes are written with enormous tenderness.” —Hanna Bervoets, author of We Had to Remove this Post

“Daring, beautifully-written and incredibly observant...I love this page turner and the colorful cast of characters who populate it.” —De’Shawn Charles Winslow, author of Decent People and In West Mills

1. Salomé is a Dutch Cameroonian living in Holland. How does her experience compare to that of a minority living in the United States? What similarities or differences do you see?
2. What kind of influence did Aunt Céleste have on Salomé? Do you think it was positive or negative? Why?
3. What does très sec mean and why does the author use it as a refrain throughout the novel? What special meaning does it have for Salomé?
4. What does Frits do on his show that Salomé views as racist? How do you understand his comments and behavior? Can you think of travel shows today in which the hosts display similar behaviors toward the people they visit?
5. We don’t know until the end of the novel what Salomé did to get her sent to the detention center. Was her crime what you had imagined? Do you think her punishment fit the crime? What, if any, symbolism is there about Paul losing an eye?
6. As in the Bible, there are two Salomés in this novel. What similarities and differences do you see between their stories?
7. Frits acknowledges that the show was ultimately for entertainment, and though it wasn’t his intention to display harmful behavior, that he did choose to go along with it. What are things in your life you “go along with?” Do these things ever make you feel uncomfortable?
8. Throughout the novel, Salomé both imagines and dreams about herself disappearing. What do you think this means in the context of the novel? Do you think there is any one thing that is driving her to feel this way?
9. How did her trip to Cameroon affect Salomé? What was different for her when she returned to Holland?
10. Frequently Salomé makes references to time: the past, its passage, the ticking of time, being stuck in time. In the detention center, she lives in the Donut, the circular ward. How do these two things work together in the novel? What do you think they represent to Salomé?
11. Salomé often draws upon various Greek myths. Do you see parallels in her story to these myths? Do you think her story could be considered a tragedy? Why or why not?
12. The novel includes several recurring storylines that move Salomé’s history forward, giving the reader more with each visit. Why do you think the author chose to write the novel this way, rather than linearly?
13. This is a lyrical novel. What are some things you notice that are different about it from the traditional novel form? How did the form affect the imparting of the story?
14. Salomé experiences many confrontations in the book; which do you think is the most significant one for her?