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There's a Monster Behind the Door
by Gaëlle Bélem
dark
funny
reflective
sad
medium-paced
BOOK #11 “THERE’S A MONSTER BEHIND THE DOOR” BY GAELLE BELEM,TRANSLATED FROM FRENCH BY KAREN FLEETWOOD & LAETITIA SAINT-LOUBERT , LONGLISTED FOR #INTERNATIONALBOOKERPRIZE2025
Set in 1980s Réunion, ‘There’s a Monster Behind the Door’ is a striking literary debut that is a humorous picaresque tale. Written by Gaëlle Belem—the first novel penned by a Réunionese woman—this coming-of-age tale gives a rare voice to a child growing up in a dysfunctional and neglectful household on the French island of Réunion.
The unnamed narrator, a curious and sharp-witted young girl, lives with parents who are glued to horror films and indifferent to her emotional needs and basic care. Her questions are routinely silenced with the flat, final refrain:
“THAT’S THE WAY IT IS, AND THAT’S THAT.”
Despite the grim reality of her upbringing—including neglect, hunger, and emotional isolation—Belem masterfully balances the narrative with biting humour and irony. One of the most memorable passages is the narrator’s hilarious and mockingly detailed account of her parents’ wedding, where the guests, the food, and the cake are all described with cutting sarcasm.
Books become her salvation. She reads voraciously—anything she can get her hands on—with a hunger that’s both literal and metaphorical:
“I READ EVERYTHING... I WOULD HAVE SOLD MY FATHER FOR A PICSOU MAGAZINE OR A MICKEY PARADE GÉANT.”
There are also brief but poignant references to the girl’s ancestry, hinting at a legacy of slavery—an understated nod to Réunion’s colonial history and its lasting imprint on identity and family structures.
What makes this novel so compelling is its tonal complexity. Belem creates a voice that is funny, emotionally detached, and quietly tragic, all at the same time. The narrator rarely expresses frustration or sadness outright, but the emotional depth simmers just beneath the surface, making the reader feel the weight of what’s left unsaid.
The translator's note at the beginning of the book offers insight into the collaborative process of bringing this vibrant, multi-tonal narrative into English. Karen Fleetwood and Laetitia Saint-Loubert do an admirable job of preserving the rhythm, irony, and cultural richness of Belem’s original prose.
There’s a Monster Behind the Door is a brilliant and unforgettable debut—a novel that makes you laugh even as it reveals deep emotional wounds, blending charm, wit, and poignancy in equal measure. It’s a powerful reminder of the resilience of children, the neglect that often goes unnoticed.
Set in 1980s Réunion, ‘There’s a Monster Behind the Door’ is a striking literary debut that is a humorous picaresque tale. Written by Gaëlle Belem—the first novel penned by a Réunionese woman—this coming-of-age tale gives a rare voice to a child growing up in a dysfunctional and neglectful household on the French island of Réunion.
The unnamed narrator, a curious and sharp-witted young girl, lives with parents who are glued to horror films and indifferent to her emotional needs and basic care. Her questions are routinely silenced with the flat, final refrain:
“THAT’S THE WAY IT IS, AND THAT’S THAT.”
Despite the grim reality of her upbringing—including neglect, hunger, and emotional isolation—Belem masterfully balances the narrative with biting humour and irony. One of the most memorable passages is the narrator’s hilarious and mockingly detailed account of her parents’ wedding, where the guests, the food, and the cake are all described with cutting sarcasm.
Books become her salvation. She reads voraciously—anything she can get her hands on—with a hunger that’s both literal and metaphorical:
“I READ EVERYTHING... I WOULD HAVE SOLD MY FATHER FOR A PICSOU MAGAZINE OR A MICKEY PARADE GÉANT.”
There are also brief but poignant references to the girl’s ancestry, hinting at a legacy of slavery—an understated nod to Réunion’s colonial history and its lasting imprint on identity and family structures.
What makes this novel so compelling is its tonal complexity. Belem creates a voice that is funny, emotionally detached, and quietly tragic, all at the same time. The narrator rarely expresses frustration or sadness outright, but the emotional depth simmers just beneath the surface, making the reader feel the weight of what’s left unsaid.
The translator's note at the beginning of the book offers insight into the collaborative process of bringing this vibrant, multi-tonal narrative into English. Karen Fleetwood and Laetitia Saint-Loubert do an admirable job of preserving the rhythm, irony, and cultural richness of Belem’s original prose.
There’s a Monster Behind the Door is a brilliant and unforgettable debut—a novel that makes you laugh even as it reveals deep emotional wounds, blending charm, wit, and poignancy in equal measure. It’s a powerful reminder of the resilience of children, the neglect that often goes unnoticed.