Children of the Jacaranda Tree by Sahar Delijani
Friday, August 23, 2013 at 10:50AM 
Published by Atria Books on June 18, 2013
Children of the Jacaranda Tree spotlights characters who endure serious hardships in Iran as the direct or indirect victims of political oppression. The novel begins in 1983 with Azar, who is being transported from a prison in Tehran to a hospital where, with little assistance, she gives birth to Neda. The weeks that follow childbirth reveal the misery of caring for a baby in an uncaring environment and highlight a mother's fear of separation from her child.
As the novel jumps around in time, covering a period from 1983 to 2011, we meet other victims and survivors of tyranny. The time span gives Neda a chance to grow up and, not surprisingly, she reappears near the end of the novel. Neda has heard tales of horror recounted by her mother, relatives, and political refugees, and she seems destined (as is likely true of Sahar Delijani, who was born in the same Tehran prison as Neda) to become a bearer of their stories.
The changing time frames and characters give rise to one of the novel's central weaknesses. Character development suffers, and it becomes difficult to make a connection with the characters, because they are introduced, usually under traumatic circumstances, and then disappear as the story shifts to someone else. Their stories do not interconnect as seamlessly as they should. We learn a good bit about the brutality the characters witnessed or endured but we learn too little about the characters themselves.
Delijani's writing style is not as powerful as her subject matter. Compelling scenes are not matched by compelling prose. She strives for a literary flair that she doesn't quite attain. Some of her well-intentioned sentences come across as trite or heavy-handed. Other sentences belong in a cheesy romance novel. The picture she paints of life in Tehran during the Islamic Revolution -- the oppression of women, fear of the Revolutionary Guard -- is a familiar one, and Delijani fails to do it justice. Additional drama provided by the background of the Iran-Iraq War is too colorless to generate a strong emotional response.
There are times when Delijani's writing shows promise -- she isn't completely unskilled -- and I give her credit for telling an important story. She just doesn't tell it with the authority and power that it deserves.
NOT RECOMMENDED