Reader Review

Carmen Miladela Roca-Kruschke:

"This is SUCH a wonderful book! Worlds Apart is FABULOUS. But be pre-WARNED. If you start reading, you'll be hooked. DON'T START. Don't EVEN Begin.You'll have to buy it. Honest. I've bought it and read it through twice. Fabulous."

Rachel Wyatt:

Tom Eubanks’ Worlds Apart is a luminous and emotionally resonant coming-of-age novel set against the lush yet politically charged backdrop of 1960s Haiti. With sharp prose and brilliant sensitivity, Eubanks captures the story of an American boy’s journey into adulthood, identity, and cultural consciousness, rendering a story that is both personal and politically poignant.

At the heart of the novel is Matthew Banning, a boy from Los Angeles, and the son of a preacher. Matthew himself is in many ways an outsider. He is at times awkward, yet introspective, and his home life is fractured by his mother’s mental illness. Matthew’s summer plans of surfing are dashed by his father’s decision to take the family on a missionary trip to Haiti.

What follows is a rich and dangerous immersion into a world far removed from anything Matthew had ever known. Notably, Eubanks does not shy away from the contradictions of missionary work or the complex dynamics between privileged foreigners and the Haitian people. Matthew soon realizes the mission is riddled with hypocrisy, power plays, and racial undertones, especially embodied by the corrupt director, Reverend Eugene Rawlins.

But amid the disillusionment, Matthew finds awakening to beauty, danger, and desire. He meets Rachel, the strong-willed daughter of a radical Haitian government official. Matthew’s relationship with Rachel is tender, yet complicated by cultural barriers and the looming threat of political violence. Eubanks explores their emotional connection, painting it not just as young love, but also a mutual longing for freedom from worlds in which they both feel confined.

Eubanks illuminates the Haitian landscape with vibrant prose, capturing the essence of colorful markets, pounding tropical storms, and the haunting music and mystery of Voodoo ceremonies. The country is not just a setting, but a force within the story that is simultaneously enchanting and threatening. The novel grips with suspense as Rachel’s father becomes involved in a failed coup and Rachel disappears. Matthew, no longer the naïve boy who had first arrived in Haiti, sets out across the Haitian countryside in search of Rachel.

The final chapters of Worlds Apart are suffused with tension and emotional weight. Enlightened and irrevocably changed, Matthew endures a physical journey that mirrors his psychological one. The novel resists the temptation of sentimental resolution, leaving the reader with a deeper understanding of a story of awakening in a fractured, beautiful and unjust world.

Worlds Apart is not just a love story, or even a political thriller, but a meditation on displacement, moral awakening, and the tender brutality of finding one’s way through the tumult of adolescence. Tom Eubanks writes with clarity, crafting characters that feel profoundly real and moments that resonate long after the final page. For readers interested in coming-of-age narratives, historical fiction, and cross-cultural storytelling, this novel is an unforgettable journey.

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Sneak Peek into Worlds Apart

The hounsi rushed forward from their places, dropped to their knees and kissed the ground. The mambos draped a string of beads around each of their necks. As if rehearsed, the priest took one of the hounsi’s hands, raised her to her feet, turned her like a ballerina to the right and then the left, and then did the same to the rest of the hounsi.

The hounsi went back to the hounfor and brought out baskets of vegetables, bottles of rum and bundles of sticks and laid them on the ground. Iron pots were brought out and set down. I pictured missionaries being boiled in a giant pot, circled by dancing natives, and some guy chopping up carrots and celery on a rock, and then throwing them in to make the soup tasty.

The hounsi danced in a single rotating line around the priest and all the stuff on the ground, while two hounsi built fires, one on each side of the dance court. Over the fires they set the iron pots and poured liquid from clear, plastic jugs into them. I knew it was oil, because the jugs were like those Ida had in her kitchen. The pots were too small for a missionary, but then I remembered what Mom did when she made stew: first, she chopped up the beef.

But when the oil began to boil, they balled up some concoction in their hands the way Mom rolled cookie dough and dropped them into the pot.

These folks knew how to have a good time at church, I’ll tell you. They danced and sang and drummed for over an hour, and got themselves all in a frenzy. More oil was added to the pots. By then the thatched roof was making me itch and my neck was sore from holding my head up to see. I considered climbing down, going home, but I didn’t want to waste the two hours I’d spent there. Or get caught.

A second team of drummers—including Agovi—took over without a break in the music. The dancers were exhausted, some of them falling to the ground. The priest poured rum into the boiling pots. A blue flame shot high into the air; the hounsi screamed. Two of them threw themselves to the ground, their arms and legs jerking like they were being filled with the Holy Spirit—but I knew there was nothing holy about it, because one rolled on top of the other and they squirmed around on each other like they were having sex, rolling over and over, messing up the vèvè. When they stood up, staggering, they hunched over like they were too tired to dance, twirled their heads on their necks and waved their arms like the Devil jumped inside of them.

From just below me, someone was rushed from the hounfor, covered in a white cloth. All I saw were hands and feet. Must be the bossale, I thought. They led the bossale to the dance court. Following with one hand on the houngan’s assistant’s shoulder for guidance, the bossale walked circles around the two boiling pots.

They stopped at the first pot. The houngan slowly took hold of the bossale’s hand, bent down and, without thinking about it for even a second, dipped it into the boiling oil. The sizzle made me cringe. But there wasn’t a scream. Nothing. The bossale stood rigid. They led him to the second pot; again, his hand was dipped into the boiling oil. They went back to the first pot, dipping in the same hand. No sound, no resistance. I was amazed. When Mom fried chicken, I’d been splattered by flying hot oil enough times to know the burning pain it caused. Couldn’t imagine dipping my hand in the pan. I got sick to my stomach thinking about it. But they weren’t finished. They dipped the hand in oil again. And again and again and again.

I laid there picturing French fried fingers. How did they control the pain? Sure wasn’t God doing it. No way would He get mixed up in something like this. This was...torture. Was it black magic? Could it be explained like...having calluses? Or did the Devil keep the pain away?

After the seventh time the hand got fried, everyone rushed up and crowded around the bossale, laughing and talking. Must have passed the test. What a way to get an “A.” They pulled off the white cloth and tossed it away, but I couldn’t see, because the face was in the shadows.

In the distance, thunder rumbled. A drop of rain splattered my cheek. Then another. The hounsi quickly led the new hounsi kanzo back towards the temple out of the light. The closer they got, the higher I raised my head to see. Would the kanzo be crying, smiling, what? I mean the guy had his hand dipped seven times in boiling oil, for crying out loud.

A few feet before they would have entered the front door of the hounfor out of my view, I shifted forward to see better. My body rustled the dry palm fronds. The hounsi stopped, confused. The hair had braids pinned up top. It wasn’t a he, it was a she. Her head rose slowly. Before I could duck, she spotted me. I locked onto her face.

I heard myself say her name.

Mollie pointed up and cursed me in Creole.