Migration has cropped up many times in the books I’ve read so far this year. From tension built on the disparity between regions in a single country, in works such as Ismail Kardare’s Broken April and Mario Vargas Llosa’s Death in the Andes, to countries where emigration almost seems part of the national psyche, as in Andrei Volos’s Hurramabad and the Lithuanian anthology, the challenge of moving from one place to another seems to be a favourite topic for storytellers the world over.

Perhaps it’s inevitable that books that bridge several cultures are more likely to find an international audience. But it’s also true that there are few scenarios calculated to show up the fault lines in individuals and societies more clearly than the arrival of an outsider.

For all the books on the subject though you’d have to go a long way to find a pithier migration tale than Jamaica Kincaid’s Lucy. Following the fortunes of a 19-year-old girl who leaves her home in the Caribbean to work as an au pair in the USA, the 1990 novel looks at the rupture that relocation can cause in a life, ‘like a flow of water dividing formerly dry and solid ground’, and provides a fresh, feisty and at times alarming perspective on the land of the free and on British colonialism.

From the first, Lucy’s blunt yet humane account of life with her wealthy white employers Mariah and Lewis provides some powerful insights into the contradictions of modern life. Through Lucy, we see the blind hypocrisy of Mariah’s well-meant involvement with a nature preservation campaign — ‘I couldn’t bring myself to ask her to examine Lewis’s daily conversation with his stockbroker, to see if they bore any relation to the things she saw passing away forever before her eyes’ — and the hollowness of the idyllic nuclear family she has constructed around her, a fiction to which she clings in the face of mounting evidence of her husband’s affair with one of her friends.

More interesting still is the depiction of the gulf between Mariah and Lucy, which their contrasting experiences of freedom and colonialism have engendered and which no amount of good will on both sides can conquer completely. This is powerfully summed up in Lucy’s violent reaction to a bunch of daffodils Mariah brings home. Seeing the flowers for the first time in her life, she is reminded of being made to learn and recite a poem about them at the Queen Victoria Girls’ School when she was 10. After the anger evoked by the memory subsides, she realises that ‘nothing could change the fact that where [Mariah] saw beautiful flowers I saw sorrow and bitterness’.

Lucy is no passive victim, though. Irreverent, strong-willed and uninhibited, she refuses to conform to the expectations of others and is determined to seize and taste all the experience she can. This makes her both likeable and compelling as she bucks against the ties that link her to the homeland she loves and despises.

 As she comes to ‘see the sameness in things that appear to be different’, it’s impossible not to share her sadness at the compromised nature of the world. Independence it seems, whether personal or national, is infinitely more than a question of geography.

Lucy by Jamaica Kincaid. Publisher (this edition): Plume (1991)