The Refugee Ocean intertwines the stories of two refugees, Marguerite Toutoungi and Naïm Rahil, across time and continents through history, loss, and music. Marguerite (who is based on the author’s cousin) is born in 1922 Beirut, and dreams of becoming a composer, but societal and familial expectations keep her tethered. A romance with a Cuban tobacco farmer leads her to a turbulent life in Havana during the Cuban Revolution.
Decades later, Naïm Rahil, a teenage piano prodigy from Aleppo, flees war-torn Syria with his mother, seeking solace in suburban America after losing his family and part of his hand in a bombing. Their stories are linked by Annabel Crandell, a social justice advocate whose transformation forms an interesting subplot.
Toutonghi captures the emotional scars of displacement and the healing power of music. However, the novel stumbles with awkward dialogue, uneven pacing, and anachronisms that break the immersion. The first half is well-paced, but the latter sections feel rushed, and the dual timelines struggle to meld seamlessly.
While there are poignant moments—Naïm’s longing for his family and Marguerite’s sacrifices resonate deeply—the characters sometimes feel two-dimensional, and the storytelling lacks cohesion. The book is a moving, if flawed, portrayal of resilience and the quest for belonging. The Refugee Ocean is worth a read but doesn’t quite live up to its promise. 3/5 stars.