James Wood, The New Yorker
‘Damon Galgut’s remarkable new novel, The Promise, suggests that the demands of history and the answering cry of the novel can still powerfully converge. As a white South African writer, Galgut inherits a subject that must feel, at different times, liberating in its dimensions and imprisoning in its inescapability […] The Promise is drenched in South African history, a tide that can be seen, in the end, to poison all ‘promise’.’
Anna Mundow, Wall Street Journal
‘Time and again in Mr. Galgut’s fiction, South Africa materializes, vast, astonishing, resonant. And on this vastness, he stages intimate dramas that have the force of ancient myth […] In such moments The Promise acquires a perilous grandeur that veers toward melodrama, but Mr. Galgut deploys these climactic scenes sparingly and to great effect, all the while keeping our anxious gaze fixed on characters linked by blood and chance whose final inheritance is a shared, contested land.’
William Skidelsky, Financial Times
‘Galgut describes his characters with rare assurance and skill, conjuring them to life in a narrative voice that moves restlessly from character to character, inhabiting each consciousness for just a few lines before moving on to the next person. This all-seeing voice is not a neutral presence, as it would be in a conventional realist novel; instead, it possesses its own personality and outlook, making it more like a chorus in a Greek drama […] The intriguing effect of this technique—a kind of hyper-omniscience—is to create an almost physical sense of immediacy. Rarely have I had such a strong sense, while reading a novel, that I myself was there, in the room with the characters. And the up-close narrative has an additional advantage, which is to distract from—or at least delay awareness of—the larger symbolic points being made.’
Tom Leclair, Open Letters
‘What saves The Promise from earnest, grave-digging melodrama and post-apartheid political correctness is Galgut’s combining the tragic downfall of The Sound and the Fury with the antic comedy of As I Lay Dying, where another dysfunctional family has very different motives before and after the burial of the mother.’
Kirkus
‘Three decades of South African sociopolitical history are woven into a saga of loss and missed opportunity that upends a dysfunctional Afrikaner family living outside Pretoria […] Galgut moves fluidly among accounts of every single major and minor character, his prose unbroken by quotation marks or italics, as though narrated from the perspective of a ghost who briefly possesses every person. The language is peppered with regional geography, terminology, and slang, with sentences ranging from clipped to lyrical.’
