This debut novel by Julie Furxhi tells a multigenerational story of three Albanian women who, each in turn, fight for their country, their family, and the respect they yearn for in a male dominated society. The story begins with Mira, in 1911, as the Ottoman Empire seeks to strengthen its standing amongst its colonies and against the empires of the Western world. Strong-willed and seemingly fearless, she marries the rebel leader, Rezart, who treats her as an equal. Despite their community’s disapproval, they fight the Turkish enemy together in the Great War. Rezart tries to ease her sense of foreboding by gifting Mira an ancient gold bracelet gifted to his ancestors 500 centuries earlier for having supported a pirate queen. With its duplicate, it had lain hidden in a cave in the Rodoni mountains overlooking the Adriatic Sea.
It is this bracelet that forms the common thread between the generations. Shot in the hip just as the conflict is ending, Mira’s last act of hope is to send the children Reznard had persuaded her to adopt back to her village with the bracelet to sustain them.
The next of the warrior women is Valentina, an outspoken, headstrong former teacher whose school was shut down by the Italian Fascists when they annexed Albania in 1935. She inherited both her love of country and clan and her fearlessness from her aunt Mira, and was close to her adopted children, especially the toddler Sofia. Val joins the resistance, like countless other women in Axis occupied nations. Her job is to infiltrate, sabotage, and otherwise undermine the enemy. The fighters are constantly hungry, on the move, and engaged in perilous activities. Her younger sister, Ana, is captured by the Nazis and disappears. Val survives but is seriously wounded and entirely deafened. Like Mira, she returns to her home village, to find it razed to the ground. Battling despair, she decides, as had Mira, that love is the only antidote. The sudden arrival of Zamir, a comrade with whom she had exchanged intelligence through a carrier pigeon named Shpreza (Hope), gives her just that. He had sworn to find her after the war. Together they rebuild the village and their lives.
The third generation is exemplified by Dita, an early 21st century archaeologist and the granddaughter of Sofia, Mira’s adopted daughter. Very attached to her Nana, who lives with the family, Dita is unsatisfied with her boyfriend, her career, and above all, herself. By pursuing the origins of a mysterious bracelet, forgotten in a ‘drawer of lost things’ at work, she uncovers many of the lost details of the heroism of her family’s women during the two worst conflicts of the 20th century. In doing so,she finds her own strength, hope, and love.
Furxhi, an American of Albanian descent, writes in a manner that suggests how each generation of women through the twentieth century-the story concludes in 2003–adapts to the abrupt changes that resulted from war, the loosening of tribal bonds, the shattering of a village life attuned to the rhythms of the land, the pressures of modernity. Their voices, and their stories, ring true. She also sheds necessary light on the colonization and oppression of the Albanian people, and on their furious resistance, a story not as well known as that of the European resistance. This is especially true regarding women’s active involvement, sometimes at the cost of their lives. Dita’s story doesn’t work quite as well as those of her predecessors, probably because she is fighting the state bureaucracy rather than foreign oppressors, but she has her own figurative battle, and she wins it. I would have loved to know more about Sofia, who embodies the plight of so many children of war, effectively twice orphaned in early childhood. That aside, this is an intriguing and well researched debut that will appeal to historical fiction lovers.