Mohsin Hamid’s new novel Exit West begins in an unnamed city fractured by political violence. There, two young people come together as everything around them is breaking apart. Nadia is a cultural rebel who wears a full black robe, “so men don’t fuck with [her]” as she traverses the city on her motorcycle. Saeed is a devoted son who wears “studiously maintained stubble” and passes quiet evenings on the balcony, gazing out at the city rather than immersing himself in it. Before these patient lovers make the exit promised by the novel’s title, and compelled by the tightening grip of civil war, Nadia ventures beyond the city through her phone, which she rides into and over the world, watching “bombs falling, women exercising, men copulating, waves tugging at the sand like the rasping licks of so many mortal, temporary, vanishing tongues.” Registering both brutality and beauty, the planetary sight that Nadia simulates here mirrors that aspired to by Hamid’s powerful book.
The novel traces Nadia and Saeed’s journey from their home city to the island of Mykonos, to London, and finally to the hills of California — a route of escape if not liberation enabled by a series of magical doors, portals that highlight through omission the unrepresentable terror of the passages in between. Progress through them — which is “both like dying and like being born” — is attained not just by the novel’s protagonists but by several people its panoramic vision only ephemerally registers: a man with “dark skin and dark, wooly hair” struggles out of a closet door in Sydney; two Filipina women emerge from a disused door at the rear of a bar in Tokyo; a young woman slips out of a black door in a Tijuana cantina; a Tamil family wanders out of an interior service door below a cluster of “blond-and-glass” luxury towers in Dubai.
“The whole planet,” in the near future inhabited by the novel, “was on the move.” Hamid is interested in the conditions of that movement and in its disparate effects. Exit West evinces the stark divisions of wealth and security that provoke migration, the myriad walls that inhibit it, and the nativism to which it gives rise. But the basic fact of movement, if a cause and consequence of profound violence, also signals, in the novel, the more hopeful potentialities of planetary interconnection. This dialectical sensibility is in keeping with Hamid’s broader oeuvre. Centering on Pakistan and its entanglement in global histories of imperialism and capitalism, his fiction and essays — from the novel Moth Smoke, to the recent collection of dispatches Discontent and Its Civilizations — have explored the relationship between here and there, self and other, in a way that holds in tension difference and sameness, contradiction and affiliation. Exit West elaborates this conceptual focus — tracing the fissures in human community and global space, and reflecting on the possibility of their transcendence.
The “dramatic monologue” that comprises Hamid’s second novel, The Reluctant Fundamentalist, is staged at an outdoor café in a busy Lahore marketplace. It is delivered by Changez — a young Pakistani university lecturer and possible militant, who formerly held an elite position at an eminent Manhattan financial firm — to a silent and ambiguously motivated American listener. Over a long and increasingly tense meal, Changez instructs his companion in the historical relationship between Pakistan and the United States. He details the continuities between the long history of the British empire in South Asia and the more recent expression of U.S. power in the region under the sign of a “War on Terror.” And he impresses as well the intimate connections, in the current conjuncture, between perpetual war and pervasive neoliberal depredation. Changez’s didactic address, though, is met by his mute guest not with affirmation but with the implied threat of assassination. Whatever its pedagogical impact on the reader, the novel dramatizes empathic failure and the persistence — in the consciousness of the west — of geographic and historical blindness.
Continuing the project of redressing this myopia, Hamid’s third novel, How to Get Filthy Rich in Rising Asia, illuminates the unevenly borne human and ecological costs of capitalist “development.” Appropriating the form of a self-help book, and joining it to the more traditional apparatus of the bildungsroman, the novel is narrated in the second person. “You” begin the story as a child in a poor South Asian village and end it on your hospital death bed, having accumulated — and then lost — a personal fortune via the purification and commoditization of municipal water. The use of the second person conflates the consumer of the tale and its anonymous hero. But the novel’s periodic shifts in perspective work to refuse any easy sense of identification between reader and protagonist. For the bulk of the narrative, as when you and your family are conveyed by an overcrowded bus “from rural remoteness to urban centrality,” we regard the world through your eyes. In certain moments, though, as when you are stooped in grief at your brother’s funeral, we observe you from above, through the lens of a drone — that essential technology of occupation that not only sees but also delimits and even negates the lives of those below.
The unmanned aerial vehicles that hover above the action in How to Get Filthy Rich, surveying and surveilling the world, are ever-present too in Exit West. “Unseen but never far from people’s minds,” they act as a metaphor for the totalizing but often invisible powers that govern us. Like capital or the state, the drone sees but cannot be seen; it is everywhere and nowhere; it generalizes vulnerability but is itself seemingly invulnerable; the “security” it avows obscures the insecurity it produces. When the Tamil family takes their first tentative steps into the Dubai sunlight, they are captured by a “small quadcopter drone hovering fifty meters above,” which alerts security officers to their presence. As the efficient trajectory of the “uniformed men” intersects with their own, the family are “intercepted and led away, apparently bewildered, or overawed, for they held hands and did not resist or scatter or run.”
Passing through one door and then another, alighting in Greece and then England, Nadia and Saeed escape the twinned fates of detention and deportation. But they continue to be tracked by the same “flying robots” that patrolled the city of their birth. As the ubiquity of the drone reveals, the line that marks the boundary between the rich countries—who “were building walls and fences and strengthening their borders” — and the poor ones is redrawn within the societies of the former. On Mykonos, Nadia and Saeed occupy the periphery of one of the migrant camps, which itself lies beyond the outskirts of the island’s old town — a popular tourist attraction that the migrants are discouraged, through the implied threat of police reprisal, from visiting. In London, a combination of government forces and private legions launch a campaign to “reclaim Britain for Britain,” to mend the “black holes in the fabric of the Nation.” Confined to one such black hole, the migrant zone of once-posh Chelsea and Kensington, Nadia and Saeed again feel their world shrinking. Surrounded by “soldiers and armored vehicles,” they are monitored from above by helicopter, drone, and surveillance balloon. When the government cuts the electricity in migrant-occupied neighborhoods, the existence of two Londons — one dark and one light — is clarified. Nadia and Saeed have escaped one civil war, but there is, they increasingly come to appreciate, no exit from the civil war that is also a world war — the essential antagonism between the possessed and the dispossessed, the rights-bearing citizen and the rightless denizen. Nadia wonders “whether she and Saeed had done anything by moving, whether the faces and buildings had changed but the basic reality of their predicament had not.”
The enduring precariousness of the migrants’ lives, though, does not preclude the genesis of new social forms. The camps on Mykonos are inhabited by people “falling within a band of brown that ranged from dark chocolate to milky tea,” who speak “in a cacophony that was the languages of the world.” In this context, “everyone was foreign, and so, in a sense, no one was.” This emergent understanding of difference as sameness is deepened, for Nadia especially, in London. There, she and Saeed find themselves resident in a sprawling house — evidently absent its lawful owners but convivially occupied by Nigerians, Somalis, and others “from as far west as Guatemala and as far east as Indonesia.” The house’s council meetings, while dull, represent “something new in her mind, the birth of something new” — the idea of a polity founded on the exigencies of mutual survival, wherein difference is the source of the universal rather than its violent corollary.
In our own time—of emboldened ethno-nationalisms—the political realization of this demotic cosmopolitanism often feels very far away. But the nativist responds to the migrant with such violence because they see their own insecurity, whether actual or latent, reflected in the presence of those who have already lost so much. And the possibility thus exists that fear will give way to solidaristic recognition. This alternative route is hinted, in Exit West, by the evolving confrontation between dark London and light. As the weeks pass, the “natives and their forces stepped back from the brink”:
Perhaps they had grasped that the doors could not be closed, and new doors would continue to open, and they had understood that the denial of coexistence would have required one party to cease to exist, and the extinguishing party too would have been transformed in the process.
The enlightened refusal of outright genocide, however, does not preface a radical transformation of London’s social and economic geography. The migrants are not welcomed to light London but corralled in the formerly protected greenbelt around the city, which has been opened up to the construction of new urban settlements and named the “London Halo.” Resident in a worker camp, circled by a security fence, Nadia and Saeed trade their labor — clearing land, assembling prefabricated dwellings — for “a home on forty square meters and a connection to all the utilities of modernity.”
This “forty meters and a pipe” is an obvious evocation of the “forty acres and a mule” promised (but never granted) to the formerly enslaved in the closing stages of the U.S. Civil War. It summons, in other words, another deferred emancipation — an extant history that Nadia and Saeed learn more about when they pass through one final door and arrive on the west coast of North America, in the new city of Marin, where they fashion a shanty in the vacant hills above town. As the fog descends and lifts, Nadia and Saeed drift apart, surely but not violently, and toward new companions. Saeed is drawn to the daughter of a local preacher, a woman descended “from the human beings who had been brought from Africa to this continent centuries ago as slaves.” Of that history, Saeed comes to understand that “society had been shaped in reaction to it, and unspeakable violence had occurred in relation to it, and yet it endured, fertile, a stratum of soil that perhaps made possible all future transplanted soils.” The link Saeed feels to this particular narrative of dislocation, of loss and struggle, is derived in part from a newfound spiritual devotion. In prayer, Saeed “touched a feeling that we are all children who lose our parents, all of us, every man and woman and boy and girl, and we too will be lost by those who come after us and love us, and this loss united humanity, every human being, the temporary nature of our being-ness.” In such instances — as when Hamid writes that “we are all migrants through time” — the political contradictions Exit West has so vividly rendered are dissolved by the revelation of transcendental humanness. The universality the novel more urgently invokes, though, is grounded in the contingent and contested terrain of social life.
Our contemporary moment is marked by a crisis of futurity — a collective inability to imagine any alternative to the supposed “end of history,” the eternal neoliberal present. But by the final pages of Exit West, in the wake of an apocalypse that “was not apocalyptic,” this malaise is yielding to “plausible desirable futures…unimaginable previously, but imaginable now.” These other worlds are made audible, in Marin, by the flourishing of new musical ensembles — “humans with humans, humans with electronics, dark skin with light with gleaming metal with matte plastic” — and given a concrete political shape by nascent regional assemblies, experimental democratic formations that exist in opposition to “those other entities for which some humans were not human enough to exercise suffrage.”
The polyglot soundscape of the migrant camps on Mykonos is “what one might hear if they were a communications satellite” — a planetary perspective that recalls the one Nadia first realizes virtually on her phone, and that Exit West itself claims. Orbiting earth, Hamid’s novel maps the divides that structure the current global order. But it also charts one necessary future, the advent of what Aimé Césaire called a “humanism made to the measure of the world.”
Old School, by Tobias Wolff:
This limpid novel offers up a vivid anatomy of the adolescent sensibility. The challenge in writing about high-school age kids — particularly the sort of generally well-off and healthy kids that populate this book — is that the whole world lies before them, and even if they fail, they have years to recover. The stakes always feel high to adolescents, but adults tend to look back on all but the worst dramas from that period with the wistfulness of veterans who have stared down life’s real problems. Wolff, though, manages to make the stakes inOld School feel high even to an adult reader by never condescending to his characters. He gives them baroque angsts and passionate urges, but he also gives them a sense of proportion and an innate understanding of their own moral failings. Wolff takes seriously the predicament of a narrator, at any age, who wants more than he has and is willing to sink into a morass of moral turpitude to get it. He allows his narrator to fail and to know that he’s failing. After visits by Robert Frost and Ayn Rand (both personalities are dramatized unforgettably here), some gamesmanship around a chance to meet Ernest Hemingway provides the narrator an opportunity to enact the sort of calamitous bad judgment that can lead to profound regret and tip one over into adulthood. Adulthood, the book seems to argue (and this is where Wolff’s lack of condescension to his teenage characters comes through most beautifully) is just childhood with greater responsibilities and without the benefit of an apparently limitless future. The stakes, we feel at the end of this book, were really as high as they felt all along. The child is father to the man. Our regrets stay with us. Dean Makepeace set up the visit with Hemingway and hinted at knowing him personally, but he had no acquaintance with him. The dean put himself into a mental prison as a result of that bit of dissembling, but how much different is that prison from the tortures of adolescence? We may run from ourselves, Wolff seems to say, but we’ll never get very far — which sounds like a curse, but looks like a blessing at the end of this affecting book.
The Sense of an Ending, by Julian Barnes:
What’s chilling in this book, beyond the dramatization of the way memories are corrupted by time, is the notion that it’s possible to see one’s present self in a positive light and not realize how much one’s own past actions have negatively affected others. The selves we take pride in, the parts of us we’re willing to be readily identified by, this book reminds us, are filtered versions of ourselves. Over the course of the novel, the narrator strips away the layers of his own illusion — or rather, he has them stripped away from him by force. And that is probably what is most disturbing about this beveled gem of a book. We cherish the progressive notion that if there is a moral imbalance in our lives, we will address it, but how can we address what we’ve allowed ourselves to forget the existence of entirely? We bury our mistakes so successfully that we no longer feel accountable for atoning for them. Much of life is a détente between whom we want to think we are and whom we are. This book is a draught of cold air, a slap in the face, a wakeup call.
The Reluctant Fundamentalist, by Mohsin Hamid:
The way the second-person narration functions in this novel is a thrill to behold. Hamid keeps things tense by keeping them indeterminate. Part of that tension springs from the extraordinary politeness and deliberateness of Changez’s overtures to his unheard interlocutor (“if you will permit me”) which read as sinister somehow — something more out of the register of “The Cask of Amontillado” than any book of etiquette. The very fact that that politeness scans as sinister is part of the driving engine of this book. The frisson one feels in reading The Reluctant Fundamentalist comes from the way Hamid implicates the reader in the narrator’s disillusionment. One is forced to interrogate one’s own assumption — the title leads us to it, archly — that the narrator has chosen the path of jihad. Could he not simply harbor non-violent objections to a way of life he’s come to disagree with? And his interlocutor, about whom we know so little — is he a regular civilian or an intelligence agent of some sort? I was spellbound by the artistry of a book that succeeds at the challenging task of making possible two diametrically opposed interpretations — that Changez is a jihadist, and that he is an ordinary man in an intense conversation who may be being radically misunderstood. As the book approaches its climactic final moment, the pitch of emotions rises subtly, inexorably, and one feels like a lobster in a slow-boiling pot. The book is a triumph of form, but it’s also an opportunity for an extended self-analysis on the reader’s part, and an argument for a more empathetic understanding of the lives of people on the margins.
Cloud Atlas, by David Mitchell:
So much has been said about this extraordinary book that one wonders what one might add to the conversation. Still, it ought to be observed that in another writer’s hands, this material might have yielded a series of bloodless experiments. Instead, what we have is a full-blooded, big-hearted, human story. Mitchell’s triumph is to make every leap in time, every technological novelty feel utterly necessary, and to wring an astounding amount of emotion out of settings that could easily have felt cold and clinical. By scrupulously rendering the everyday reality of his characters’ lives, Mitchell earns the right to go to outlandish places in his telling. There is no ironic distance from the more conceptual material, no winking at the reader. He’s taking it all seriously, even the oddball stuff. We relax in the hands of a storyteller who will see to every detail and think through the larger implications of every choice. We settle in for the ride. And what a ride it is. One of the under-remarked aspects of this book is what a page-turner it turns out to be, how thoroughly engrossing. Mitchell’s talents seem to know no bounds.
The Easter Parade, by Richard Yates:
A book whose astringent worldview makes Revolutionary Road seem at times almost cheerful. These characters fail each other over and over, and fail themselves. I felt a keen sympathy for the divorced Walter Grimes when he’s visited by his young daughters at work. He’s not a reporter, the way they think he is; instead, he works at the copy desk. He’s not ashamed, just a little embarrassed, but their disappointment is palpable, and it sets the stage for this story of disillusionment on a grand scale. These sisters are estranged early and spend their lives running on parallel paths toward disappointment in men, in marriage, in careers, in life itself. They fail to meet, even when they’re in each other’s presence. There aren’t a lot of people to “like” in this book, but The Easter Parade provides the greatest antidote I can think of to the assertion that a book has to be populated with likable characters for it to be enjoyable. The impossible beauty in Yates’s sentences would be balm enough by itself, but when you combine it with the extraordinary perception about humanity on every page, one is left feeling less alone on the planet knowing that someone like Yates once walked around taking things in and caring enough about people in their flawed humanity to attempt to reproduce them convincingly on the page, however odious they could be at a given moment. He somehow loves everyone, even when he’s skewering them. The gorgeousness of Yates’s prose and the heartbreaking accuracy of his insight into our sometimes-dark hearts provide enormous emotional sustenance. The care he takes in getting his sentences right, in staring accurately into a moment, is its own kind of embrace. One need not get the milk of human kindness from Yates’s characters to get it from his books.
10:04, by Ben Lerner:
Among the many pleasures in reading this astonishingly nimble book is watching to see where this consciousness will take you. There are so many surprises here, so many things seen afresh with that particular sort of attention that Ezra Pound calls for in ABC of Reading, wherein to know a fish really well is to know it back and forth, to study it for weeks until it is a moldering pile of bones, but one has learned something about it. The thing that’s known in this case is the way the mind works, the tortuous byways one’s thoughts can wend on the path to an ever-receding but tantalizing total understanding of the workings of the universe for a fleeting moment. Lerner gives his narrator extreme perceptiveness, hyper-articulacy, great curiosity, and a laconic voice that suggests more emotional exposure at any given moment than he is prepared to handle. The triumph of this book — with its impacted sentences that involute on themselves and interrogate the meanings of words and pack as much signification as possible into each unit of cognition — is to present observations of such freshness, originality, and vivacity that they instantly feel like old wisdom one has had access to for years. Everything in this book one hadn’t seen before Lerner wrote it suddenly becomes an article of longstanding faith, a core principle one has lived by. I was particularly captivated by his discussion of the numinous power in “totaled” art, damaged works that have been declared valueless by an insurance company. Lerner spins the word “totaled” into a captivating riff that extends in several meditative directions. Seeing that art for what it was was just one of many new ways of perceiving the world that this book gave me as gifts. But the greatest gift this book gives is its willingness to slow everything down, to stop time for long enough to get everything thought and everything said that can be thought and said in a given moment. This preoccupation with accuracy and comprehensiveness makes the narrator a prison of his perceptions at times, because he sees with a fly’s eyes, taking in every stimulus around him and folding it into whatever thesis he is constructing in his mind at a given moment. In a culture that insists on speed and thoughtless consumption, Lerner’s willingness to parse a moment down to its component parts is a welcome corrective.
My Sunshine Away, by M.O. Walsh:
This gutsy book (coming in 2015) examines the effects of a rape on both the victim and the community she grows up in in Louisiana. The identity of her attacker is unknown. The narrator is a classmate of hers who also happens to have had an obsessive crush on her for years. Right away, we know we’re in complicated territory. Like Lolita and The Stranger before it, My Sunshine Away understands that every confession is also an attempt to convert listeners to the speaker’s worldview. We’re not sure whether this confession will end in a revelation of evil or renew our faith in humanity, but the deft structural control, artful prose, and extraordinary psychological acuity on display mean we’re riveted either way. As we parse the narrator’s words to determine what he’s capable of, we conspire with him to direct attention away from the person who needs it the most, namely the victim. Walsh captures how the fear of discovery in untidy urges can turn ordinary people into monsters of pragmatism. The last third snaps with a tautness of a thriller, and Walsh keeps the reader guessing until the very end, as the best mystery writers do, but this is literature of the highest order, an elegy for lost youth everywhere and an argument for empathy at all costs. This book asks the essential questions: How much responsibility do we have to each other? Can we reassemble the pieces of broken lives? Walsh hints at answers, but none is more potent than the fact that he’s engaging such profound questions in the first place.
Small Mercies, by Eddie Joyce:
Small Mercies, also coming in 2015, is the Staten Island novel you didn’t know you were waiting to read. It’s also the best novel yet at capturing the human suffering that resulted from the 9/11 attacks on the World Trade Center. Rather than writing a safe-remove “systems” novel about the roots and impacts of the attacks, Joyce takes on the more ambitious task of bringing vividly into focus one of the 3,000 people who died that day and the family members and friends who pressed on in the wake of their unspeakable loss. In telling the story of the demise of beloved Bobby Amendola — son, brother, husband, friend, lover of life, Staten Islander, firefighter — and the divergent ways his loved ones responded to it, Joyce tells the story of all New York during that heartbroken, haunted period. Joyce understands the role one’s native place plays in the development of one’s character, and he has a gift for choosing resonant details and peeling back the layers of emotion in ordinary moments. He builds his story around the negative space created by Billy’s absence, alternating perspectives throughout to provide a kaleidoscopic portrait of a people in grief. Small Mercies effortlessly tackles weighty subjects — the value of the bonds of family in changing times, what debts we owe the dead and ourselves, what to make of the American Dream of prosperity in an era when America’s influence is on the wane — without being weighed down by its own seriousness of purpose. The high-spirited characters in this book have such a good time even when grieving that it’s easy to fall in love not only with Billy’s memory, but with most of the flawed-but-human people who will carry that memory around in them for the rest of their days.
Redeployment, by Phil Klay:
Klay does outstanding work to make the familiar unfamiliar and the unfamiliar familiar. We think we know war stories, and he makes us see that we don’t know these war stories. Whatever our preconceptions about war are, Klay estranges us from them. The bewildering array of technologies, the arcane system of acronyms, the rules of procedure in the contemporary theater of war, with military contractors, ubiquitous improvised explosive devices, and a direct engagement with civilians that dwarfs even that in Vietnam — all these are, for the reader who has never seen them personally, deeply unfamiliar, and Klay makes that unfamiliarity palpable.
In the end, though, war stories or not, these are stories about people in different states of crisis on either side of a divide, American or Iraqi, and Klay makes their experiences feel familiar enough to allow an enormous transference of empathy. The way the soldiers eat cobbler at the end of “Frago” stands in for so much about the way they try to preserve their humanity in the midst of inhuman psychological challenges. And the end of the title story, “Redeployment,” is a heartbreaker, with the narrator’s mind fuzzy as he tries to remember what he was going to do with the body of the beloved dog he has killed. It’s a perfect encapsulation of the mental disturbance he is going to have to deal with going forward, as he tries to live a normal life.
When the narrator of “After Action Report” says, “It was another three weeks before I got home and everybody thanked me for my service. Nobody seemed to know exactly what they were thanking me for,” it captures the predicament of civilians dealing with veterans in an era when there isn’t pervasive military service, and wars are fought on distant shores for reasons that remain abstract or inscrutable to ordinary people, and the experience of war, in part due to the technological advances, departs so radically from the one described in history books or movies. Part of this book’s argument is that the story of the senselessness of war needs to be told afresh in every generation for it to be heard at all.
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The idea of Pakistan instantly conjures clichéd headlines and images: angry bearded men protesting, and questions about how Osama Bin Laden managed to hide in the country. Over the past decade, the discourse on Pakistan has been stuck in a time warp: a nuclear weapon-armed country on the perpetual brink of collapse.
It isn’t surprising then, that writing on Pakistan features the same. At bookstores in Washington, DC and elsewhere, ominously-titled books are a constant: Descent into Chaos, Deadly Embrace, and Eye of the Storm.
In his novel Shame, Salman Rushdie describes the country, newly formed in 1947 when India was split apart after the British withdrew and handed over power to the new India and Pakistan, as “moth-eaten.” Pakistan is, Rushdie writes, “a country so improbable that it could almost exist.”
While no one denies that the country is in a dire state, Pakistani fiction writers are working at making sense of Pakistan, with subtlety, nuance, and colorful tales far beyond the reach of the foreign correspondent.
As author and historian William Dalyrmple puts it, Pakistan has always needed explaining, “When (author) Nadeem Aslam first came to the Jaipur Literature Festival, he said that we need to write about Pakistan as if we are writing with a burning quill. I think that provides the energy that fuels the engine of Pakistani writing. Just like Latin America in crisis in the 1970s produced remarkable writing from authors like Marquez. In Pakistan today, the situation is so fragile, so complex, so much in need of understanding and explanation and clarity.”
A sense of this need for clarity came from the buzz surrounding journalist Mohammed Hanif’s debut novel A Case of Exploding Mangoes. Set in the 1980s, the book provides a fictional account of General Zia-ul-Haq’s reign and his death in a plane crash. The crash was real, as was the iron grip that Zia held over the country. The wry story, with an Air Force officer as the protagonist, made one wonder if Hanif’s version of events was actually true. The author is routinely questioned at book readings if he has written a journalistic account of the events.
The release of A Case of Exploding Mangoes prompted many to wonder if Pakistan was the next hot spot for English-language fiction. But this was far from the first novel that originated from the country. In the 1960s, Zulfiqar Ghose wrote The Murder of Aziz Khan, a heart-wrenching tale of life and death in a village in Punjab. In the 1980s and 1990s, Bapsi Sidhwa wrote a series of novels chronicling stories of the Zoroastrian community in Pakistan, set against the backdrop of the division of the Indian subscontinent in 1947 or in the U.S in the 1970s. In 1997, Mohsin Hamid published Moth Smoke, based on the differences between the haves and have-nots of Lahore, and in 2007 The Reluctant Fundamentalist, a tale of a man who turns to religion. Kamila Shamsie developed a cult following for her poignant tales of characters from the elite Karachi.
Growing interest in fiction from Pakistan appears to have coincided with a tumultuous time in the country’s history: Benazir Bhutto’s assassination, the resignation of General Pervez Musharraf after nine years of rule and a war against militants in the tribal regions of the country. A Case of Exploding Mangoes was longlisted for the Man Booker Prize in 2008 and was followed by a flurry of new books that made headlines worldwide.
In 2009, Daniyal Mueenuddin, whose work has appeared in The New Yorker, published his collection of short stories In Other Rooms, Other Wonders. Mueenuddin, a Yale Law graduate, is a farmer by profession. The short stories, set primarily in rural Punjab, provided a glimpse into life away from the big cities, on farmlands where landowners held sway, and sex was used as a means of influence.
But why is it important to read fiction from Pakistan to understand the country? While books will sell on their own merit, there is an urgent need to make sense of the country and the region as a whole. Foreign correspondents parachute in and out of the country, and are largely limited to the cities, but authors with varied and rich backgrounds have tried to portray life drawn from their own experiences.
However, the release of fiction books from Pakistan has often been termed as a remarkable event at a time when the country is grappling with militancy.
Aysha Raja, a bookseller and publicist based in Lahore, says that in the past few years, the foreign press has viewed fiction from Pakistan through a geopolitical lens. “In addition to being a fallacy it has hurt fiction writing in Pakistan by suggesting the ‘geopolitical context’ as a tantalizing device. There is some evidence to suggest that readers, at least in Pakistan, are becoming increasingly weary of this theme.”
“There are many difficulties to being a writer in Pakistan, but it is also a gift. It provides exciting stuff to writers which more comfortable Western Europeans, and to a certain extent, comfortable Indians don’t have. And there isn’t that great fiction coming out of India at the moment,” says Dalrymple, adding that while India has been producing great non-fiction work, the Pakistani novelist is well ahead of its Indian counterpart at the moment.
But there may be some truth to the cliché that fiction is being produced in a country with near-daily terrorist attacks. “I have now become so hardened that I just need a desk to be able to write, so surroundings no longer matter. But it matters that these surroundings be somewhat peaceful: that is why I have moved from Karachi to Lahore,” says Musharraf Ali Farooqi. Farooqi published his first novel The Story of a Widow, after the success of his translations of two epic tales: The Adventures of Amir Hamza and Hoshruba. He has just published a children’s book, Tik Tik, The Master of Time. His latest novel Between Clay and Dust is a tale of wrestlers and courtesans set in Lahore, once a prominent city in the Mughal empire that is considered the cultural capital of Pakistan. Farooqi’s characters are not exotic; he painstakingly presents them as ordinary people just trying to do the right thing, with base emotions: pride, anger, empathy. The novel was shortlisted for the Man Asian Prize in January this year. Farooqi says the shortlisting has spurred interest in the book from American publishers He is currently working on two books. “One is about the Anti-Christ launching himself in Karachi (my estimation of Pakistan’s political situation can be read here). The other one is about a group of book lovers spread across the globe who join forces to revive a beloved institution.”
In 2011, Jamil Ahmad, a retired government official, released his debut novel The Wandering Falcon, which he actually wrote when he was serving in the 1970s but was released when he was over the age of 70. Ahmad’s book chronicles life away from the urban centers – in the mountains of Waziristan and the deserts of Balochistan — with stories of people that one can’t access in the mainstream press.
In the last month, both Karachi and Lahore have played host to literature festivals, with authors attending from the U.S., England and India. New novels, Pakistani-born author Nadeem Aslam’s The Blind Man’s Garden and Mohsin Hamid’s How to Get Filthy Rich in Rising Asia are being released this year. A film adaptation of Hamid’s bestselling book The Reluctant Fundamentalist, helmed by Amelia director Mira Nair, is set to premiere in 2013. The New York Review Books has also just published a translation of Basti, Urdu writer Intizar Husain’s novel on the partition of the Indian subcontinent. With these releases, one hopes that more aspiring writers will emerge and open up a dialogue without the shadow of Pakistani politics or terrorism hanging over it.
2013 is looking very fruitful, readers. While last year offered new work from Zadie Smith, Junot Díaz, Michael Chabon, and many more, this year we’ll get our hands on new George Saunders, Karen Russell, Jamaica Kincaid, Anne Carson, Colum McCann, Aleksandar Hemon and even Vladimir Nabokov and J.R.R. Tolkien, as well as, beyond the horizon of summer, new Paul Harding, Jonathan Lethem, and Thomas Pynchon. We’ll also see an impressive array of anticipated work in translation from the likes of Alejandro Zambra, Ma Jian, László Krasznahorkai, Javier Marías and Karl Ove Knausgaard, among others. But these just offer the merest hint of the literary plenty that 2013 is poised to deliver. A bounty that we have tried to tame in another of our big book previews.
The list that follows isn’t exhaustive – no book preview could be – but, at 7,900 words strong and encompassing 79 titles, this is the only 2013 book preview you will ever need.
January or Already Out:
Tenth of December by George Saunders: Tenth of December is George Saunders at his hilarious, heartbreaking best, excavating modern American life in a way that only he can. In “Home,” a soldier returns from the wars in Afghanistan and Iraq to a deteriorating family situation. In “Victory Lap,” a botched abduction is told from three very different perspectives. Tenth of December has already prompted an all-out rave profile from the New York Times. And for those George Saunders super fans out there, yes, there is a story set at a theme park. (Patrick)
Going Clear: Scientology, Hollywood, and the Prison of Belief by Lawrence Wright: While Wright was working on his 25,000-word take-down of the Church of Scientology for The New Yorker (where he is a staff writer), a spokesman for the organization showed up with four lawyers and 47 binders of documentation. “I suppose the idea was to drown me in information,” Wright recently told the Times, “but it was like trying to pour water on a fish.” The investigation has blossomed into a full-length book that’s shaping up to be as controversial as anything that crosses Scientology’s path: Wright has been receiving numerous legal missives from the church itself and the celebrities he scrutinizes, and his British publisher has just backed out—though they claim they haven’t been directly threatened by anyone. (Elizabeth)
Umbrella by Will Self: Shortly before Umbrella came out in the UK last September, Will Self published an essay in The Guardian about how he’d gone modernist. “As I’ve grown older, and realised that there aren’t that many books left for me to write, so I’ve become determined that they should be the fictive equivalent of ripping the damn corset off altogether and chucking it on the fire.” Umbrella is the result of Self’s surge in ambition, and it won him some of the best reviews of his career, as well as his first Booker shortlisting. He lost out to Hilary Mantel in the end, but he won the moral victory in the group photo round by doing this. (Mark)
Revenge by Yoko Ogawa: English-reading fans of the prolific and much-lauded Yoko Ogawa rejoice at the advent of Revenge, a set of eleven stories translated from Japanese by Stephen Snyder. The stories, like Ogawa’s other novels (among them The Diving Pool, The Housekeeper and the Professor, and Hotel Iris) are purportedly elegant and creepy. (Lydia)
Ways of Going Home by Alejandro Zambra: Drop the phrase “Chilean novelist” and literary minds automatically flock to Bolaño. However, Alejandro Zambra is another name those words should soon conjure if they don’t already. Zambra was named one of Granta’s Best Young Spanish Language Novelists in 2010, and his soon-to-be-released third novel, Ways of Going Home, just won a PEN translation award. The novel has dual narratives: a child’s perspective in Pinochet’s Chile and an author’s meditation on the struggle of writing. In Zambra’s own words (from our 2011 interview): “It’s a book about memory, about parents, about Chile. It’s about the 80s, about the years when we children were secondary characters in the literature of our parents. It’s about the dictatorship, as well, I guess. And about literature, intimacy, the construction of intimacy.” (Anne)
Scenes from Early Life by Philip Hensher: In his eighth novel, Scenes from Early Life, Philip Hensher “shows for the first time what [he] has largely concealed in the past: his heart,” writes Amanda Craig in The Independent. Written in the form of a memoir, narrated in the voice of Hensher’s real-life husband Zaved Mahmood, the novel invites comparison with Gertrude Stein’s The Autobiography of Alice B. Toklas. Described as a hybrid of fiction, history, and biography—and as both “clever” and “loving”—the inventive project here is distinctly intriguing. (Sonya)
Exodus by Lars Iyer: Exodus, which follows Spurious and Dogma, is the eminently satisfying and unexpectedly moving final installment in a truly original trilogy about two wandering British intellectuals—Lars and W., not to be confused with Lars Iyer and his real friend W., whom he’s been quoting for years on his blog—and their endless search for meaning in a random universe, for true originality of thought, for a leader, for better gin. (Emily M.)
Vampires in the Lemon Grove by Karen Russell: Russell’s short stories are marked by superb follow-through: many succeed due to her iron-clad commitment to often fantastical conceits, like the title story of her first collection, St. Lucy’s Home for Girls Raised by Wolves, which draws a powerful metaphor for adolescent girlhood in an actual orphanage for girls raised by wolves. Last year saw her debut novel, Swamplandia!, nominated for the Pulitzer prize; this year, her second short story collection—and another batch of fantastical conceits—finally arrives. Just imagine the characters in this title story, trying to quell their bloodlust, sinking their fangs into lemons under the Italian sun. (Elizabeth)
My Brother’s Book by Maurice Sendak: When Maurice Sendak died last May he left one, final, unpublished book behind. It is, according to a starred review in Publisher’s Weekly, a beautiful, intensely serious elegy for Sendak’s beloved older brother Jack, who died in 1995. The story, illustrated in watercolors, has Guy (a stand-in for Sendak), journeying down the gullet of a massive polar bear named Death- “Diving through time so vast—sweeping past paradise”- into an underworld where he and Jack have one last reunion. “To read this intensely private work,” writes Publisher’s Weekly, “is to look over the artist’s shoulder as he crafts his own afterworld, a place where he lies in silent embrace with those he loves forever.” (Kevin)
Benediction by Kent Haruf: Kent Haruf’s previous novels, which include Plainsong and Eventide, have all taken place in the fictional Colorado town of Holt, which is based on the real life city of Yuma. His newest work is no exception. It is a network of family dramas in a small town, most of which revolve around loss or impending loss, strained relationships, and efforts to grapple, together, with the pain the characters face in their own lives and feel in the lives of those around them. (Kevin)
See Now Then by Jamaica Kincaid: For See Now Then, her first novel in a decade, Jamaica Kincaid settles into a small town in Vermont, where she dissects the past, present and future of the crumbling marriage of Mrs. Sweet, mother of two children named Heracles and Persephone, a woman whose composer husband leaves her for a younger musician. Kincaid is known as a writer who can see clean through the surface of things – and people – and this novel assures us that “Mrs. Sweet could see Mrs. Sweet very well.” (Bill)
The Bridge Over the Neroch: And Other Works by Leonid Tsypkin: Like Chekhov, Tsypkin was a doctor by trade. In fact, that was all most people knew him as during his lifetime. At the time of Tsypkin’s death, his novel Summer in Baden-Baden, one of the most beautiful to come out of the Soviet Era, remained unpublished, trapped in a drawer in Moscow. Now New Directions brings us the “remaining writings”: a novella and several short stories. (Garth)
How Literature Saved My Life by David Shields: Like his 2008 book The Thing About Life is that One Day You’ll Be Dead, which was nearly as much a biology text book as it was a memoir, How Literature Saved My Life obstinately evades genre definitions. It takes the form of numerous short essays and fragments of oblique meditation on life and literature; and, as you’d expect from the author of Reality Hunger, it’s heavily textured with quotation. Topics include Shields’s identification with such diverse fellows as Ben Lerner (his “aesthetic spawn”) and George W. Bush, the fundamental meaninglessness of life, and the continued decline of realist narrative fiction. (Mark)
The City of Devi by Manil Suri: Manil Suri is perhaps best known for his first novel The Death of Vishnu, which was long-listed for the Booker and shortlisted for the 2002 PEN/Faulkner Award. The City of Devi, his third novel, takes place in a Mumbai emptied out under threat of nuclear attack. Sarita, a 33-year-old statistician, stays in the city to find her beloved husband, who has mysteriously vanished. She ends up teaming up with a gay Muslim man named Jaz, and together they travel across this dangerous and absurd and magical landscape. According to Keran Desai, this is Suri’s “bravest and most passionate book,” which combines “the thrill of Bollywood with the pull of a thriller.” (Edan)
Breakfast at Tiffany’s & Other Voices, Other Rooms: Two Novels by Truman Capote: Holly Golightly is turning 55, and to mark her entry into late middle age, the Modern Library is reissuing Capote’s dazzling 1958 novella that made her and Tiffany’s Fifth Avenue showroom into American icons. The short novel is paired with Capote’s (also brief) debut novel Other Voices, Other Rooms, a strange and haunting semi-fictional evocation of Capote’s hauntingly strange Southern childhood. Modern Library will also reissue Capote’s Complete Stories in March. (Michael)
Nothing Gold Can Stay by Ron Rash: Ron Rash has earned a spot as one of the top fiction writers describing life in Appalachia with his previous books, The Cove, Serena, and One Foot in Eden. His newest collection of short stories tells of two drug-addicted friends stealing their former boss’s war trophies, of a prisoner on a chain-gang trying to convince a farmer’s young wife to help him escape, and of an eerie diving expedition to retrieve the body of a girl who drowned beneath a waterfall. (Kevin)
The Love Song of Jonny Valentine by Teddy Wayne: If you have ever wondered what, if anything, is going on inside the head of one of those kiddie pop stars who seem animatronically designed to make the tween girls swoon, then Jonny Valentine may be for you. Winner of a Whiting Writers’ Award for his first novel Kapitoil, Wayne has built a reputation for offbeat wit in his humor columns for Vanity Fair and McSweeney’s, as well as “Shouts & Murmurs” pieces in The New Yorker. Here, he channels the voice of a lonely eleven-year-old pop megastar in a rollicking satire of America’s obsession with fame and pop culture. (Michael)
Give Me Everything You Have: On Being Stalked by James Lasdun: English poet, novelist and short story writer James Lasdun’s new book is a short memoir about a long and harrowing experience at the hands of a former student who set out to destroy him and through online accusations of sexual harassment and theft. J.M. Coetzee has called it “a reminder, as if any were needed, of how easily, since the arrival of the Internet, our peace can be troubled and our good name besmirched.” (Mark)
Fight Song by Joshua Mohr: Joshua Mohr’s previous novels—Some Things That Meant The World To Me, Termite Parade, and Damascus—formed a loose trilogy, each book standing alone but all three concerned with a mildly overlapping cast of drifting and marginal characters in San Francisco. In Fight Song, Mohr is on to new territory, “way out in a puzzling universe known as the suburbs,” where a middle-aged man embarks on a quest to find happiness, to reconnect with his distant and distracted family, and to reverse a long slide into purposelessness. (Emily M.)
Middle C by William H. Gass: Not many writers are still at the height of their powers at age 88. Hell, not many writers are still writing at 88. (We’re looking at you, Philip Roth.) But William H. Gass has always been an outlier, pursuing his own vision on his own timetable. His last novel (and magnum opus) The Tunnel took thirty years to write. Middle C, comparatively svelte at 400-odd pages, took a mere fifteen, and may be his most accessible fiction since 1968’s In The Heart of the Heart of the Country. It’s a character piece, concerning one Joseph Skizzen, a serial (and hapless) C.V. embellisher and connoisseur of more serious forms of infamy. The plot, such as it is, follows him from war-torn Europe, where he loses his father, to a career as a music professor in the Midwest. Not much happens – does it ever, in Gass? – but, sentence by sentence, you won’t read a more beautifully composed or stimulating novel this year. Or possibly any other. (Garth)
The Burgess Boys by Elizabeth Strout: Maine native Elizabeth Strout won the Pulitzer Prize for fiction in 2009 for Olive Kitteridge, her novel in the form of linked stories. Strout’s fourth novel, The Burgess Boys, is the story of the brothers Jim and Bob Burgess, who are haunted by the freak accident that killed their father when they were children in Maine. They have since fled to Brooklyn, but they’re summoned home by their sister Susan, who needs their help dealing with her troubled teenage son. Once they’re back home, long-buried tensions resurface that will change the Burgess boys forever. (Bill)
The Fun Parts by Sam Lipsyte: Sam Lipsyte returns to short stories with his new book The Fun Parts. The collection contains some fiction previously published in The Paris Review, Playboy, and The New Yorker, including his excellent “The Climber Room,” which ends with a bizarre twist. Several of the stories, including “The Dungeon Master” and “Snacks,” explore the world from the perspectives of misfit teens. As with all of Lipstye’s stories, expect his absurdist humor and a just a touch of perversion. Get excited. (Patrick)
Red Doc> by Anne Carson: It’s been more than a decade since Carson, a poet and classicist, published The Autobiography of Red, a dazzling and powerful poetic novel that reinvents the myth of Herakles and Greyon: hero and monster reworked into a story of violently deep unrequited love. Red Doc> promises to be a sequel of sorts, with “a very different style,” “changed names,” and the spare preview is incredibly intriguing: “To live past the end of your myth is a perilous thing.” (Elizabeth)
A Thousand Pardons by Jonathan Dee: Author of The Privileges, arguably the best novel about haute New York in the boom years of the past decade, Dee returns with another tale of family life in the upper reaches of New York society, this time post-recession. When her husband loses his job as a partner at a white-shoe law firm, Helen Armstead finds a job at a PR firm, where she discovers she has an almost magical, and definitely lucrative, gift: she can convince powerful men to admit their mistakes. But this is a novel, so her professional success does not necessarily translate into success in her personal life. (Michael)
Speedboat by Renata Adler: This novel, first published in 1976, brings to mind the old saw about the Velvet Underground. Not everybody read it, but everybody who did went on to write a novel of his or her own. Adler is primarily known for her acerbic New Yorker fact pieces, but, like her omnicompetent contemporary Joan Didion, she is also a terrific fiction writer. This fragmented look at the life of an Adler-like journalist may be her Play It As It Lays. Writers still urgently press out-of-print copies on each other in big-city bars near last call. Now it’s getting the NYRB Classics treatment. (Garth)
Mary Coin by Marisa Silver: Following the success of her novel The God of War, The New Yorker favorite Marisa Silver returns with Mary Coin, a novel inspired by Dorothea Lange’s iconic “Migrant Mother” photo. The book follows three characters: Mary, the mother in the photograph; Vera Dare, the photographer; and Walker Dodge, a contemporary-era professor of cultural history. Ben Fountain says it’s “quite simply one of the best books I’ve read in years,” and Meghan O’Rourke calls it “an extraordinarily wise and compassionate novel.” (Edan)
How to Get Filthy Rich in Rising Asia by Mohsin Hamid: Hamid’s previous novels were The Reluctant Fundamentalist and Moth Smoke. His third borrows the structure of self-help books (chapter titles include “Avoid Idealists”, “Don’t Fall in Love”, and “Work For Yourself”) to follow a nameless man’s ascent from a childhood of rural poverty to success as a corporate tycoon in a metropolis in “rising Asia.” (Emily M.)
The Tragedy of Mr. Morn Vladimir Nabokov: I furrowed my brow when I saw Nabokov’s name on the preview list, imagining a horde of publishers rooting through his undies for hitherto undiscovered index cards. But this is a very old play, in the scheme of Nabokov’s life–written in 1923, published in Russian in 2008, published in English this spring. The play is about royalty, revolutionaries, allegories; “On the page,” writes Lesley Chamberlain for the TLS, ” the entire text creeps metonymically sideways. Its author weaves language into a tissue of reality hinting at some veiled, mysteriously interconnected, static truth beyond.” I’m not sure what that means, but I think I like it. (Lydia)
The Book of My Lives by Aleksandar Hemon: Sarajevo-born, Chicago-based author Aleksandar Hemon—winner of the MacArthur “genius grant” and editor of Dalkey Archive’s stellar Best European Fiction series—abandons fiction for essay and memoir in his fifth book, The Book of My Lives. The title alludes to and, as far as we can tell, calls upon Hemon’s New Yorker essay “The Book of My Life,” about his former literature professor turned war criminal, Nikola Koljevic. Just as Hemon’s novel Lazarus Project straddled the fiction/nonfiction divide, The Book of My Lives isn’t strictly memoir, pushing boundaries of genre now from the nonfiction side. (Anne)
The Unchangeable Spots of Leopards by Kristopher Jansma: Kristopher Jansma, academic and Electric Literature blogger, drawer of daring and controversial parallels on the digital pages of our own august publication (Is The Killing like or not like Kafka?), publishes his debut novel on the first day of spring. The novel features young writers, young love, artistic competition, girls, jaunts. I predict that at least one blurber will reference This Side of Paradise. (Lydia)
A Map of Tulsa by Benjamin Lytal: In the 2003, “a young Oklahoman who work[ed] in New York” stole the eleventh issue of McSweeney’s from the likes of Joyce Carol Oates and T.C. Boyle with a story – well, scenario, really – called “Weena.” Maybe I only loved it so much because I, too, was from outlands like those it so lovingly described. Still, I’ve been keeping an eye out for that young Oklahoman, Benjamin Lytal, ever since. I assume that A Map of Tulsa, too, is about coming of age in Tulsa, a city that looks from the window of a passing car at night “like a mournful spaceship.” (Garth)
In Partial Disgrace by Charles Newman: Newman, the editor who put TriQuarterly on the map in the 1960s, was once spoken of in the same breath with the great dark humorists of postwar American writing. Even before his death, in 2006, his novels were falling out of print and his reputation fading. If there is any justice in the republic of letters (which is a big if), the belated publication of his incomplete masterwork, a sprawling trilogy set in a fictional Mitteleuropean nation to rival Musil’s Kakania, should put him permanently back on the map. (Garth)
The Childhood of Jesus by J.M. Coetzee: J.M. Coetzee, Nobel laureate and two-time Booker Prize winner, continues to explore the plight of the outsider in his new allegorical novel, The Childhood of Jesus. It’s the story of an unnamed man and boy who cross an ocean to a strange land where, bereft of memories, they are assigned the names Simon and David before they set out to find the boy’s mother. They succeed, apparently, only to run afoul of the authorities, which forces them to flee by car through the mountains. One early reader has called the novel “profound and continually surprising.” (Bill)
Life After Life by Kate Atkinson: The beloved author of Case Histories, Behind the Scenes at the Museum, and Started Early, Took My Dog (among others) is out with the stor(ies) of Ursula Todd. In 1910, Todd is born during a snowstorm in England, but from then on there are parallel stories — one in which she dies at first breath, and one in which she lives through the tumultuous 20th century. As the lives of Ursula Todd continue to multiply, Atkinson asks what, then, is the best way to live, if one has multiple chances? (Janet)
All That Is by James Salter: Upon return from service as a naval officer in Okinawa, Philip Bowman becomes a book editor during the “golden age” of publishing. The publisher’s blurb promises “Salter’s signature economy of prose” and a story about the “dazzling, sometimes devastating labyrinth of love and ambition.” In our interview with Salter in September, he told us it was “an intimate story about a life in New York publishing,” some 10 years in the making. From John Irving: “A beautiful novel, with sufficient love, heartbreak, vengeance, identity confusion, longing, and euphoria of language to have satisfied Shakespeare.” Tim O’Brien: “Salter’s vivid, lucid prose does exquisite justice to his subject—the relentless struggle to make good on our own humanity.” April will not come soon enough. (Sonya)
The Woman Upstairs by Claire Messud: The Emperor’s Children, Messud’s bestselling novel from 2006, did as much as anyone has to bridge the gap between the social novel and the novel of consciousness her husband, James Wood, has championed in his criticism. Now, Messud returns with the story of a Boston-area woman who becomes entangled with a Lebanese-Italian family that moves in nearby. Expect, among other things, insanely fine writing. (Garth)
The Interestings by Meg Wolitzer: In a review of her most recent book, 2011’s The Uncoupling, the San Francisco Chronicle declared that, “At this point in her career, Meg Wolitzer deserves to be a household name.” Wolitzer’s tenth novel begins at a summer camp for the arts in 1974, and follows a group of friends into the adulthood. They’re all talented, but talent isn’t enough, and as they grow up, their paths split: some are forced to exchange their childhood dreams for more conventional lives, while others find great success—and, as one might imagine, tensions arise from these differences. (Elizabeth)
The Flamethrowers by Rachel Kushner: Rachel Kushner’s first novel, Telex from Cuba, was lauded for its evocative descriptions and its power of suspense. Kushner will surely call on both talents for The Flamethrowers, as her heroine first becomes immersed in a late ‘70s New York downtown scene peopled by artists and squatters, and then follows a motorcycle baron to Italy during the height of the Autonomist movement. Images are central to Kushner’s creative process: a ducati, a woman in war paint, and a F.T. Marinetti lookalike riding atop a cycle with a bullet-shaped sidecar were talismans (among others) for writing this book. (Anne)
Harvard Square by André Aciman: In 1970s Cambridge, Massachusetts, a young Harvard graduate student from Egypt wants to be the consummate American, fully assimilated and ensconced in the ivory tower as a literature professor. Then he meets Kalaj — an Arab cab driver who denigrates American mass culture and captivates the student with his seedy, adventurous life. Harvard Square tells the story of this young student’s dilemma, caught between the lofty world of Harvard academia and the magnetic company of his new friend. (Janet)
Woke Up Lonely by Fiona Maazel: Woke Up Lonely is Fiona Maazel’s first novel since being named a “5 Under 35” choice by the National Book Foundation. The book focuses on Thurlow Dan, the founder of the Helix, a cult that promises to cure loneliness. Ironically, Thurlow himself is profoundly lonely and longing for his ex-wife, Esme. The book has been compared to the work of Sam Lipsyte and Karen Russell, and if there’s one phrase that continually appears in early reviews and press materials, it is “action packed.” (Patrick)
The Dark Road by Ma Jian: Ma Jian, whose books and person are both banned from China, published his third novel The Dark Road in June (Yunchen Publishing House, Taipei); the English translation will be released by Penguin. The story: a couple determined to give birth to a second child in order to carry on the family line flee their village and the family planning crackdown. At Sampsonia Way, Tienchi Martin-Liao described it as “an absurd story” that uses “magical realism to describe the perverse reality in China.” The publisher describes it as “a haunting and indelible portrait of the tragedies befalling women and families at the hands of China’s one-child policy and of the human spirit’s capacity to endure even the most brutal cruelty.” Martin-Liao tells us that the book’s title, Yin Zhi Dao, also means vagina, or place of life and origin. (Sonya)
The Pink Hotel by Anna Stothard: Stothard’s second novel (after Isabel and Rocco) follows an unnamed 17-year-old narrator as she flies from London to L.A. for the funeral of Lily, a mother she never knew, the proprietess of The Pink Hotel. While the hotel’s residents throw a rave in Lily’s honor, her daughter steals a suitcase of Lily’s photos, letters, and clothes. These mementos set her on a journey around L.A., returning letters to their writers and photos to their subjects and uncovering the secrets of her mother’s life. Longlisted for the 2012 Orange Prize, The Pink Hotel has been optioned for production by True Blood’s Stephen Moyer and Anna Paquin. (Janet)
Our Man in Iraq by Robert Perišic: Perišic is one of the leading new writers to have emerged from Croatia after the fall of the Iron Curtain. In this, his first novel to appear stateside, he offers the funny and absurd tale of two cousins from Zagreb who get caught up in the American Invasion of Iraq, circa 2003. Perišic speaks English, and assisted with the translation, so his voice should come through intact, and a blurb from Jonathan Franzen never hurts. (Garth)
And the Mountains Echoed by Khaled Hosseini: Few details have been released so far about the third novel from international publishing juggernaut Hosseini (The Kite Runner, A Thousand Splendid Suns). In a statement posted to Penguin’s website, Hosseini explains, “My new novel is a multi-generational family story as well, this time revolving around brothers and sisters, and the ways in which they love, wound, betray, honor, and sacrifice for each other.” (Kevin)
My Struggle: Book Two: A Man in Love by Karl Ove Knausgaard: The first part of Knausgaard’s six-part behemoth was the single most stirring novel I read in 2012. Or is the word memoir? Anyway, this year sees the publication of Part Two, which apparently shifts the emphasis from Knausgaard’s childhood and the death of his father to his romantic foibles as an adult. But form trumps content in this book, and I’d read 400 pages of Knausgaard dilating on trips to the dentist. There’s still time to run out and catch up on Part One before May rolls around. I can’t imagine many readers who finish it won’t want to keep going. (Garth)
You Are One of Them by Elliott Holt: You Are One of Them is Pushcart Prize-winner Elliott Holt’s debut novel. You might be forgiven for thinking she’d already published a few books, as Holt has been a fixture of the literary Twittersphere for years. Holt’s debut is a literary suspense novel spanning years, as a young woman, raised in politically charged Washington D.C. of the 1980s, goes to Moscow to investigate the decades-old death of her childhood friend. (Patrick)
The Fall of Arthur by J.R.R. Tolkien: In a letter to his American publisher two decades after abandoning The Fall of Arthur, Tolkien expressed regret that he’d left the epic poem unfinished (some suggest it was cast aside as he focused on writing The Hobbit, published in 1937). Nearly eighty years later, the work has been edited and annotated by his son, Christopher, who has written three companion essays that explore the text and his father’s use of Arthurian legend in Middle Earth. Tolkien fans will be grateful for the uncharted territory but unused to the book’s bulk, or lack thereof: in the American edition, poem, notes, and essays clock in just shy of 200 pages long. (Elizabeth)
Americanah by Chimamanda Ngozi Adichie: The author of the critically acclaimed novels Half of a Yellow Sun and Purple Hibiscus, both set in Adichie’s home country of Nigeria, now turns her keen eye to the trials of cultural assimilation for Africans in America and England. In the novel, a young Nigerian couple leave their homeland – she to America for an education, he to a far more unsettled, undocumented life in England. In their separate ways, each confront issues of race and identity they would never have faced in Nigeria, where they eventually reunite. (Michael)
Red Moon by Benjamin Percy: Percy, whose previous books include the novel The Wilding and the story collection Refresh, Refresh, imagines a world wherein werewolves have always lived among us, uneasily tolerated, a hidden but largely controlled menace, required by law to take a transformation-inhibiting drug. He describes his new novel as “a narrative made of equal parts supernatural thriller, love story and political allegory.” (Emily M.)
A Guide to Being Born by Ramona Ausubel: A short story collection that includes the author’s New Yorker debut, “Atria”. If that piece is any indication, the book is more than a bit fabulist – the plot involves a girl who finds herself pregnant and worries she’ll give birth to an animal. The specter of parenthood, as the title suggests, appears in numerous guises, as does the reinvention that marked the protagonists of her novel (the genesis of which she wrote about in our own pages). (Thom)
The Hanging Garden by Patrick White: The last work of Nobel Laureate Patrick White gives his homeland an Elysian feel. At the beginning, we meet two orphans, Eirene Sklavos and Gilbert Horsfall, whose parents both died in separate conflicts early on in the second World War. They escape to a house in suburban Sydney and bond in a lush little garden. As with most things published posthumously, the story is a little bit scattershot, but early reviews out of Oz (and our own take) say the book is worthy of its author. (Thom)
Love Is Power, or Something Like That by A. Igoni Barrett: Barrett’s middle name, Igonibo, means stranger, though he’s no stranger to all things literary: he chronicled his childhood bookishness in our pages last year, and his father is Jamaican-born poet Lindsay Barrett who settled in Nigeria, where the younger Barrett was born and still lives. The streets of Lagos provide the backdrop for his second story collection, Love Is Power, or Something Like That. His first was called From the Cave of Rotten Teeth, and rotting teeth seems to be something of a recurring motif. It’s picked up at least tangentially in this book with “My Smelling Mouth Problem,” a story where the protagonist’s halitosis causes disturbances on a city bus ride. (Anne)
The Unwinding: An Inner History of the New America by George Packer: George Packer reveals the state of affairs in America in his ominously-titled new book, a history told in biographical inspections of its various residents (read about one, a lobbyist, in a truly riveting excerpt in The New Yorker). The bad news, probably, is that American is fucked. The good news, I learned from an interview in The Gunn Oracle, the paper of record at Packer’s high school, is that Packer didn’t become a proper journalist until age 40, which is sort of heartening, and may officially qualify him for Bloom status. (More bad news: no posted vacancies at The Gunn Oracle.) (Lydia)
Pacific by Tom Drury: Drury’s fans will be ecstatic to learn that his new novel focuses once again on the inhabitants of Grouse County, Iowa, where two of his four previous books, The End of Vandalism and Hunts in Dreams, also take place. In this new novel, Tiny Darling’s son Micah travels to L.A. to reunite with his mother who abandoned him years before, while back in the Midwest, a mysterious woman unsettles everyone she meets. The novel tells two parallel tales, plumbing both the comic and tragic of life. Yiyun Li says that Drury is a “rare master of the art of seeing.” This novel is sure to prove that—yet again. (Edan)
Forty-One False Starts: Essays on Artists and Writers by Janet Malcolm: The title of this collection comes from a 1994 New Yorker profile of the artist David Salle, in which Malcolm tried in 41 different ways, without success, to penetrate the carefully constructed shell of an artist who had made a bundle during the go-go 1980s but was terrified that he was already forgotten by the art world, a has-been. Malcolm trains her laser eye on a variety of other subjects, including Edward Weston’s nudes, the German photographer Thomas Struth, Edith Wharton, the Gossip Girl novels, and the false starts on her own autobiography. (Bill)
Transatlantic by Colum McCann: Known for deftly lacing his fiction with historical events – such as the high-wire walk between the twin towers that opened his National Book Award-winning novel, Let the Great World Spin – McCann threads together three very different journeys to Ireland in his new novel, Transatlantic. The first was Frederick Douglass’s trip to denounce slavery in 1845, just as the potato famine was beginning; the second was the first transatlantic flight, in 1919, by Jack Alcock and Arthur Brown; and the third was former U.S. Sen. George Mitchell’s repeated crossings to broker the 1998 Good Friday Agreement. In an interview, McCann said it’s the aftermath of such large historic events that interests him as a novelist: “What happens in the quiet moments? What happens when the plane has landed?” (Bill)
The Hare by César Aira: A recent bit of contrarianism in The New Republic blamed the exhaustive posthumous marketing of Roberto Bolaño for crowding other Latin American writers out of the U.S. marketplace. If anything, it seems to me, it’s the opposite: the success of The Savage Detectives helped publishers realize there was a market for Daniel Sada, Horacio Castellanos Moya, and the fascinating Argentinian César Aira. The past few years have seen seven of Aira’s many novels translated into English. Some of them, like Ghosts, are transcendently good, but none has been a breakout hit. Maybe the reissue of The Hare, which appeared in the U.K. in 1998, will be it. At the very least, it’s the longest Aira to appear in English: a picaresque about a naturalist’s voyage into the Argentinean pampas. (Garth)
Taipei by Tao Lin: Indie darling Tao Lin officially enters the world of big six publishing with his eighth published work, Taipei, an autobiographical novel beginning in 2009 and concerning a few years in the life of a 25-year-old protagonist moving from Taiwan to New York City and Las Vegas. In an Observer interview from 2011, Lin said that the book “contains a marriage, somewhat extreme recreational drug usage, parents, [and] a book tour” – all of which should be familiar subjects to people who’ve followed Lin’s exploits on Twitter, Tumblr and his blog over the past few years. (And especially if you’ve been one of his “interns.”) (Nick)
In the House upon the Dirt between the Lake and the Woods by Matt Bell: Matt Bell’s novel is an exploration of parenthood and marriage, and it carries the premise and the force of myth: a woman who can sing objects into being and a man who longs for fatherhood get married and leave their hectic lives for a quiet homestead by the side of a remote lake. But as pregnancy after pregnancy fails, the wife’s powers take a darker turn—she sings the stars from the sky—and their grief transforms not only their marriage but the world around them. (Emily M.)
His Wife Leaves Him by Stephen Dixon: Stephen Dixon, a writer known for rendering unbearable experiences, has built his 15th novel around a premise that is almost unbearably simple: A man named Martin is thinking about the loss of his wife, Gwen. Dixon’s long and fruitful career includes more than 500 shorts stories, three O. Henry Prizes, two Pushcart Prizes and a pair of nominations for the National Book Award. His Wife Leaves Him, according to its author, “is about a bunch of nouns: love, guilt, sickness, death, remorse, loss, family, matrimony, sex, children, parenting, aging, mistakes, incidents, minutiae, birth, music, jobs, affairs, memory, remembering, reminiscence, forgetting, repression, dreams, reverie, nightmares, meeting, dating, conceiving, imagining, delaying, loving.” (Bill)
Seiobo There Below by László Krasznahorkai: The novels of the great Hungarian writer László Krasznahorkai have recently begun to break through with American audiences. Thus far, however, we’ve only glimpsed one half of his oeuvre: the one that deals (darkly, complexly) with postwar Europe. Krasznahorkai has also long taken an interest in East Asia, where he’s spent time in residence. Seiobo There Below, one of several novels drawing on this experience, shows a Japanese goddess visiting disparate places and times, in search of beauty. (Garth)
Carnival by Rawi Hage: True to its title, Carnival – which takes place in a city loosely based on the author’s hometown of Montreal – takes the reader on a tour of a place well-populated with odd and eccentric characters. The protagonist, Fly, is a cab driver with a penchant for binge reading. We learn that he chose his name to draw a contrast with a group called the Spiders. The Spiders are a loose collection of predatory cab drivers, who choose to wait for their customers rather than to hunt them on the streets. Fly himself, too, is no slouch when it comes to weirdness – he says that his mother gave birth to him in front of an audience of seals. (Thom)
Cannonball by Joseph McElroy: Of the American experimental novelists of the 1960s and 1970s, Joseph McElroy may be the most idiosyncratic. He specializes in what you might call information architecture, overloading his narratives with nonfictional data while strategically withholding the kinds of exposition that are conventional in fiction. The results speak for themselves: moments of startling resonance, power, mystery…and topicality. His work has previously tackled the Pinochet regime, artificial intelligence, and, in his terrific recent story collection, Night Soul, terrorism. Now he turns his attention to the Iraq War. (Garth)
On the Floor by Aifric Campbell: Banker-turned-novelist Aifric Campbell takes on the testosterone of the eighties. At Morgan Stanley, she saw firsthand the excesses of the era, which drove young female analysts to develop “contempt” for other women. As a product of that environment, her main character, Geri, feels like a “skirt among men.” She lacquers her ambitions with conspicuously feminine gestures and modes of dress. In an interview with the Guardian, Campbell pointed out that she used to race greyhounds, which gave her a “certain logic” that helped her in banking and writing. (Thom)
Love, Dishonor, Marry, Die, Cherish, Perish by David Rakoff: Rakoff passed away last summer at the age of 47, shortly after completing this slender novel “written entirely in verse.” His previous books have been largely satirical, so this final work is a departure: stretching across the country and the twentieth century, the novel’s stories are linked by “acts of generosity or cruelty.” Ira Glass, who brought Rakoff to the airwaves for more than a decade, has described the book as “very funny and very sad, which is my favorite combination” (a fair descriptor of much of Rakoff’s radio work, like this heartbreaking performance from the live episode of “This American Life” staged just a few months before his death.) (Elizabeth)
Five Star Billionaire by Tash Aw: In his third novel, Aw writes about Malaysian immigrants to contemporary Shanghai, featuring an ensemble cast who hail from diverse backgrounds; their stories are interwoven, and counterpointed with the lives they left behind. Aw, who was a practicing lawyer while writing his first novel, The Harmony Silk Factory, won accolades for his debut: longlisted for Man Booker Prize, International Impac Dublin Award and the Guardian First Book Prize; winner of the Whitbread First Novel Award as well as the Commonwealth Writers Prize for Best First Novel (Asia Pacific region). (Sonya)
Night Film by Marisha Pessl: This much-anticipated, oft-delayed follow-up to Pessl’s bestselling Special Topics in Calamity Physics originally set to come out in 2010 is now scheduled – no, this time they really mean it – in the fall. The novel is a “psychological literary thriller” about a young New Yorker who sets out to investigate the apparent suicide of Ashley Cordova, daughter of a reclusive European movie director. (Michael)
The Infatuations by Javier Marías: Javier Marías’s new book, translated by Marguerite Jull Costa, is his 14th novel to be published in English. It was awarded Spain’s National Novel Prize last October, but Marías turned it down out of an aversion to receiving public money. It’s the story of a woman’s obsession with an apparently happy couple who inexplicably disappear. It’s his first novel to be narrated from a woman’s perspective, so it will be interesting to see how Marias manages to accommodate his penchant for detailed descriptions of ladies crossing and uncrossing their legs. (Mark)
Clare of the Sea-Light by Edwidge Danticat: My time at the University of Miami overlapped with Danticat’s, though unfortunately I never took her creative writing course. I did, however, see her speak at an event for the English department during my junior year. She was astounding. There are prose stylists in this world and then there are storytellers, and rare are people like Danticat who are both. She read from her memoir Brother, I’m Dying, which features one of the most devastating and personal depictions of our wretched immigration system ever written. Haiti has always been an remarkable place – a nation built with equal measures of hope, passion, charm, malfeasance and tragedy. In this forthcoming story collection, Clare of the Sea-Light – which draws its title from a piece she originally published in Haiti Noir – we can expect the prodigiously talented author to render each aspect of the place beautifully. (Nick)
Necessary Errors by Caleb Crain: Caleb Crain’s debut novel, which concerns the topic of “youth,” borrows its title from W. H. Auden’s 1929 poem “[It was Easter as I walked in the public gardens]” and takes place in the Czech Republic during the last decade of the 20th century. Look for Crain, a journalist, critic and banished member of the NYPL’s Central Library Plan advisory committee, to use research and insight from his previous book – a provocative look at male friendship, personal lives, and literary creation – in order to give Jacob Putnam and the rest of the characters in Necessary Errors a great deal of interwoven influences, covert desires and realistic interaction. (Nick)
Enon by Paul Harding: In 2009, the tiny Bellevue Literary Press published Harding’s debut novel, Tinkers, which went on to win the Pulitzer Prize. Tinkers tells the story of George Washington Crosby, an old man reliving the memories of his life as he dies surround by family. Enon, named for the Massachusetts town where Crosby died, is about his grandson, Charlie Crosby, and Charlie’s daughter Kate. (Janet)
The Signature of All Things by Elizabeth Gilbert: Elizabeth Gilbert’s mega-bestselling Eat Pray Love put her on Time Magazine’s list of most influential people in the world, and then Julia Roberts played her in the movie adaptation. What many fans of that memoir don’t know is that Gilbert started her career as a fiction writer, penning a short story collection, Pilgrims, and the novel, Stern Men, which was a New York Times Notable Book in 2000. Now, 13 years later, she returns to the form with the publication of “a big, sprawling, epic historical novel that takes place from 1760 to 1880, following the fortunes of a family called the Whittakers, who make their name in the early botanical exploration/proto-pharmaceutical business trade.” That description is from Gilbert herself, taken from this candid, illuminating and entertaining interview with Rachel Khong for The Rumpus. (Edan)
Dissident Gardens by Jonathan Lethem: Sunnyside Queens has long held a contrarian perspective. In the 1920s, as urban development projects washed over the outer boroughs, the folks in Sunnyside did all they could to keep the place from turning into a cookie-cutter suburb. Driveways were banned and garages were disallowed. Instead of lawns, the neighborhood’s designers recommended long courtyards that spanned the entire length of blocks – these were meant to encourage mingling and space sharing. It’s no doubt this spirit of dissent, skepticism and opinionated egalitarianism that’s drawn Jonathan Lethem to the neighborhood as the centerpiece for his new novel, a “family epic,” which focuses on three generations of American leftists growing up in the outer borough. (Nick)
Bleeding Edge by Thomas Pynchon: Washington Post critic Ron Charles broke the news recently that Thomas Pynchon will have a new book out from Penguin this fall called Bleeding Edge. (Though Penguin says the book has not yet been scheduled). Charles said the news of the new book was confirmed by two Penguin employees and that “everything is tentative” at this time. More as we know it, folks. (Max)
Subtle Bodies by Norman Rush: There’s still not much to report on Rush’s latest, a novel of love and friendship set in upstate New York on the eve of the Iraq War. In October, though Granta Books in the U.K. announced an autumn 2013 publication date, so here’s hoping… (Garth)
The Dying Grass by William T. Vollmann: The fifth of Vollmann’s Seven Dreams books to appear, The Dying Grass will most likely not see print until summer of 2015, according to his editor. First up is Last Stories, a collection of ghost stories slated to hit bookstores next year. Assuming there still are bookstores next year. (Garth)
Your Name Here by Helen DeWitt: Your Name Here seems to be stuck in a holding pattern at Noemi Press, befitting, one supposes, its tortured publication history. In a recent Believer interview, DeWitt suggested that the version that appears in print, if it appears in print, may not be the same as the .pdf she was selling on her website a few years back. Chunks may have been spun off into other works of fiction. Whatever the damn thing ends up looking like, we eagerly await it. (Garth)
Escape from the Children’s Hospital by Jonathan Safran Foer: Foer returns to childhood, to trauma, and to interwoven voices and storylines. The childhood here is Foer’s own, though, so this may mark a kind of departure. We’ll have to wait and see, as no publication date has been set. (Garth)
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At the outset of Mohsin Hamid’s brilliant Moth Smoke, a terrible crime has been committed. A child has been killed. A judge, rendered rather unusually in the second person, watches as a diverse cast of characters enters the courtroom: the defendant’s partner in crime, Murad Badshah; the defendant’s childhood best friend, Aurangzeb, known as Ozi, exuding good taste and money; Ozi’s estranged wife, Mumtaz, exuding fury. A crowd of spectators filters in behind them, drawn from every strata of Pakistan’s extremely stratified society. And then the defendant, Darashikoh Shezad, Daru for short: “[a] hard man with shadowed eyes, manacled, cuffed, disheveled, proud, erect. A man capable of anything and afraid of nothing.”
But if Daru’s afraid of nothing, it’s because he has nothing left to lose. Hamid’s novel shifts back some months, to the day when Daru’s long slide began. Before he was languishing in prison cells and shuffling into courtrooms in chains, he held a respectable position at a bank. But even then, his position in middle-class society was fragile.
Ozi and Daru’s fathers served in the army together, and Ozi’s father watched over Daru after Daru’s father died. Daru and Ozi went to the same elite school, the most prestigious in Lahore, Daru’s tuition paid for by Ozi’s father. Daru did better than Ozi on the SATs, but while Ozi was accepted into three foreign universities, Daru wasn’t accepted into any, because Ozi’s father’s generosity didn’t extend as far as college tuition and it’s difficult to obtain financial aid if one’s a foreign student. Ozi went to study overseas; Daru stayed in Pakistan. Ozi loved studying in America; Daru hated the local college where he ended up.
While the book is specific to a time and a place — Lahore, Pakistan, spring 1998 — the essential difference between Ozi and Daru comes down to the difference between the poor and the comfortable everywhere: one has a margin for error in his life, whereas the other does not. When Daru snaps at a rude client at the bank and is immediately fired, there’s no safety net to break his fall. He obtained his job only because Ozi’s father called in a favor, but now the economy is such that even Ozi’s father can’t help. Elle Magazine called this “a crackling funny first novel,” and it often is, but Daru’s slide into addiction and criminality is harrowing. The crackling surrounds a deadly serious core.
Hamid is best-known for his second novel, The Reluctant Fundamentalist. Moth Smoke, recently re-released by Riverhead, was his first. The plotting is masterful, especially for a first novel; Hamid’s shifts in perspective are effective, and while we know from the courtroom scene at the beginning that a child will be killed, we don’t know which one, which makes the appearance of every child in these pages an event fraught with peril. Moth Smoke was published to considerable critical acclaim in 2000, which is to say after Pakistan tested its first nuclear weapons, and the arms race between Pakistan and India form the jittery backdrop to Daru’s long goodbye.
The book is suffused through and through by a terrible uncertainty, a sense of ground shifting beneath one’s feet. Hamid uses Daru’s descent from middle-class respectability to desperation as a lens through which to examine the corruption and the complexities of late-90’s Pakistani society. It’s not an especially flattering portrait, but a major strength of the book is Hamid’s refusal to take an easy moralistic stance. Daru is a victim of circumstance, but he’s also capable of cruelty, poor decisions, and hypocrisy. He feels victimized by the monied classes, but mistreats the boy who keeps house for him. He carries a strain of entitlement; he’s insulted by the suggestion that he sell cars for a living. Through his education and through his friendship with Ozi he’s been allowed a glimpse at an entirely different Pakistan, the Lahore of the monied elite, and his rage is fueled by the impossibility of crossing the border from his Pakistan to Ozi’s. Ozi’s Pakistan is a fortress. Money is the only way in.
Ozi is amoral, but on the other hand, as he notes in a chapter told from his perspective, he manages not to slap his housekeeper and he doesn’t sleep with his best friend’s wife, which is more than can be said for Daru. Yes, Ozi acknowledges, the rich in Pakistan use their money to create their own reality, separate from the rest of the struggling country, but what choice do they have? “The roads are falling apart,” he notes,
…so you need a Pajero or a Land Cruiser. The phone lines are erratic, so you need a mobile. The colleges are overrun by fundos who have no interest in getting an education, so you have to go abroad. …Thanks to electricity theft there will always be shortages, so you have to have a generator. The police are corrupt and ineffective, so you need private security guards. It goes on and on.
It’s a cynical stance, but not an incomprehensible one. The book sounds a warning of the perils of allowing a considerable sector of the population to slide into disenfranchisement while the 1% seal themselves off in a privatized bubble, and it’s as relevant now as it was upon first publication twelve years ago.
Actually, I am sitting here in my pants, looking at a blank screen, finding nothing funny, scared out of my mind like everybody else, smoking a family-sized pouch of Golden Virginia.
–Zadie Smith, “This is how it feels to me,” in The Guardian, October 13, 2001.
If you want to read the Greatest Work of 9/11 Literature, the consensus is: keep waiting. It will be a long time before someone writes it.
We don’t know what it will look like. It could be the Moby Dick of the Twenty-First Century, or maybe a new Gatsby, but more likely it will be neither. Maybe it won’t be a novel at all. It could be a sweeping history (maybe) of New York at the turn of the Millennium and of America on the precipice of total economic implosion (or not). We will read it on our iPad34 (or maybe by then Amazon will beam narratives directly into our brain for $1.99). One thing that seems certain is that no one has yet written that book. Not DeLillo (too sterile), Safran Foer (too cloying), Hamid (too severe), Messud (too prissy), O’Neill (too realist), Spiegelman (too panicked), Eisenberg (too cryptic) or the 9/11 Commission (too thorough).
The idea is that it will take time to determine what — if any — single piece of literature best captures the events of September 11, 2001 and their aftermath. We can name any number of reasons why authors seem to have underwhelmed us during the past decade. Perhaps they suffered from an extended period of crippling fear of the kind Zadie Smith described just weeks after the attacks. Literary production can tend to feel superfluous in the aftermath of large loss of life. Or perhaps it’s our persistent closeness to the events. We’re still only a decade out, despite the sense that we’ve been waiting in airport security lines for an eternity. (By comparison, Heller wrote Catch-22 almost 20 years after Pearl Harbor; War and Peace wasn’t finished until 50 years after France’s invasion of Russia; and I think the jury may still be out on who wrote the definitive work on Vietnam). We can’t blame earnest authors for trying. It just wasn’t long enough ago yet.
None of this stops critics from trying to figure out the best 9/11 book so far.
We gather books about 9/11 (and some would go as far as to make the hyperbolic-somewhat-tongue-in-cheek claim “they’re all post-9/11 books now”) into a single pile and determine who has best distilled the essence of terrorism’s various traumatic effects on our national psyche and our ordinary life. On one hand, it seems plausible to blame this tic on our collective reduced attention spans and expectations for rapid literary responses to cultural and historical events. Or more simply: we want our book and we want it now. On the other hand, the imperative to produce a 9/11 book became a kind of authorly compulsion — a new way to justify the craft of writing to an audience whose numbers always seem to be inexorably marching toward zero. Amid conversations about “the death of the novel” (and we often fail to remember that these discussions were robust and ominous-sounding back in 2001 too), 9/11 provided a renewed opportunity for books to become culturally relevant. Fiction, poetry, creative nonfiction — the whole lot. Any literary rendering of the post-9/11 world would be preferable to the unmediated reality of it. Or more simply: writers could come to the rescue of a traumatized public. Or even more simply: why shouldn’t it have been writing that could have soothed us and given us some kind of answers?
Whether these considerations will eventually vindicate the authors who tried to translate 9/11 into literature just a few raw years after the fact, we can’t say. My contention is simply that, for now, they shouldn’t be so universally panned for trying. In the meantime, perhaps this decade anniversary isn’t an opportunity to determine who’s written the best book so far, but rather to reconsider accepted notions about what constitutes the Literature of 9/11 in the first place. The books we have written and read since 2001 tell us more about ourselves than about the capacity of literature to encompass the consequences of an event like these terrorist attacks. Rather than rank these books, we should fit them into categories that allow us to consider why we turn to literature in the aftermath of a traumatic event. We can more usefully ask ourselves “Why read?” and think about why this particular historical moment produced such a rapid and rapidly evolving body of literature.
Here are some ideas to help get this conversation started. I don’t intend these bullet point-style assertions to be a decisive argument. Rather, I guess I’m just trying to figure out a way to group and regroup the books that have been on our collective radar for the past ten years.
1. To understand the post-9/11 world, we should look to the literature of the last moments before September 11, 2001.
Jonathan Franzen’s The Corrections was published on September 1, 2001. Concerned with biotech, the dot-com crash, and the erosion of middle class family life in millennial America, Franzen’s novel captures a vague sense of menace in the days immediately before 9/11. And, though she has become better known for A Visit from the Goon Squad (which mentions the World Trade Center, only briefly) Jennifer Egan’s Look at Me proves that fiction can often seem to predict the world just ahead of us. The events of the novel so uncannily represent the shadow presence of terrorism in the unseen spaces of American everyday life that Egan, who wrote the book entirely before 9/11, included an afterward to the novel in 2002. She writes: “Had Look at Me been a work-in-progress last fall, I would have had to receive the novel in light of what happened. Instead, it remains an imaginative artifact of a more innocent time.” This last line has always been problematic for me. Were we really that innocent before 9/11? Authors seemed totally capable of exposing the dread underlying the exuberance (rational or otherwise) at the close of the Millennium. I wonder to whether we’ll remember the pre-9/11 years as one of innocence or willful ignorance.
2. There is no single body of 9/11 Literature.
As I have mentioned, the tendency in the past decade has been to lump together all works of fiction about 9/11. As the number of works that deal directly and indirectly with the terrorist attacks has ballooned, the moniker “9/11 Literature” has become a dull catchall term used to describe too many types of books. Instead, we can try to make some distinctions to figure out more precisely what different kinds of books have done, and stop trying to judge them all by the same criteria. It can be helpful, for example, to distinguish between 9/11 Literature and Post-9/11 Literature. Whereas Mohsin Hamid’s The Reluctant Fundamentalist and Don DeLillo’s Falling Man pivot around the events of September 11, books like Claire Messud’s The Emperor’s Children suggest how the events and their effects can be pushed to the margins. Works of 9/11 Literature obsess about the intricate and far-reaching effects of 9/11 on the lives of characters, whereas Post-9/11 Literature emphasizes how individuals can move beyond the trauma of the attacks and allow ordinary life to resume its flow.
3. The literary response to 9/11 better helps us understand the longer-term psychological effects of terrorism on families, communities, and nations.
Art Spiegelman’s In the Shadow of No Towers and Jonathan Safran Foer’s Extremely Loud and Incredibly Close help us understand how the effects of cultural trauma reach into future generations. They explore how we are all implicated into broader narratives of belonging to national and cultural heritages. Spiegelman had to publish the serial version of his comics in Germany because squeamish newspapers in America believed that his critiques of the Bush Administration would be poorly received at home. Likewise, Safran Foer’s novel was frequently criticized as playing on themes of grief and loss that seemed too fresh. As time passes, these criticisms fall away, and what we’re left with is a more subtle understanding of how — in the immediate aftermath of a cultural trauma — we must try to recover as individuals.
4. The relationship between The 9/11 Commission Report and The 9/11 Report: A Graphic Adaptation stands as one of the most compelling pairs of books to emerge in the past ten years — and neither one of these is a novel.
While I’d argue that no single works stands out as the definitive representation of the terrorist attacks, a reader could do no better to understand the attacks of September 11, 2001 than to devour the 9/11 Commission’s official report. To 9/11 truthers, it probably makes sense that the government would produce an eloquent and sophisticated rendering of the attacks, and the complicated histories of terrorism and American intelligence failures that led to them. But to the rest of us, it comes as a fascinating surprise — one that reveals the government’s investment in the production of a literary artifact of some serious depth and skilled sentence-making. The 9/11 Commission Report defies the expectation that a government document should be stodgy and defensive. Instead, it reveals — often in a tone that breaks its own rigid impartiality and becomes downright moving — the grating human oversights of regulators and the humanity of the terrorists themselves as they bumblingly tried to find a hiding place in America.
When read alongside Sid Jacobson and Ernie Colon’s adaptation of the report, the two works become a breathtaking and genre-bending account of 9/11. Together, they are proof that an event like 9/11 can actually produce new artistic forms. The effort to describe and understand — to probe and render aesthetically — gives rise to new ways of thinking about the world. These are not novels, but they certainly rise to the level of literature, no matter how one decides to define it.
5. It’s time to start re-thinking the place of 9/11 in the landscape of American literary production.
It has become more apparent that 9/11 is moving to the background of our cultural consciousness. Its influence remains, but its effects have faded when compared to what seem like more pressing economic and political concerns. Books like Deborah Eisenberg’s Twilight of the Superheroes help us understand what this process of fading looks like. But to return to Franzen and Egan, no two books seem better suited to the moment after the post-9/11 moment than Freedom and A Visit from the Goon Squad. To understand how authors have begun to fill their blank screens with something other than images of the World Trade Center on fire, it’s hard to do better. Franzen tackles the Bush Administration while Egan projects into a future New York, in which the 9/11 memorial has become an old landmark in Lower Manhattan. Literature looks forward at the next moment — toward a space and time during which we will no longer use the term Post-9/11 to describe ourselves, if only because newer and more troubling problems will take its place.
* * *
I have left out many works and many ideas. Where are Joseph O’Neill and Ian McEwan? Where are Colum McCann and John Updike? I have left out (in the very last minute) Lorraine Adams, whose book Harbor absolutely changed the way I thought about post-9/11 America when I read it, even though it had little if anything to do with 9/11. All of this is just to say: the conversation should continue, and I think it will only get more interesting throughout the next decade.
Image credit: WarmSleepy/Flickr
With the awarding of the International IMPAC Dublin Literary Award last week, the 2008/2009 literary award season is now over, which gives us the opportunity to update our list of prizewinners.
Though literary prizes are arbitrary in many ways, our prizewinners post is compiled in the same spirit that one might tally up batting titles and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the “canon” and secure them places on literature class reading lists for decades to come.
Most notably, after being named to the IMPAC shortlist, The Brief Wondrous Life of Oscar Wao by Junot Díaz has joined the ranks of the most celebrated novels of the last 15 years, making it, along with the other books near the top of the list, something of a modern classic.
Here is our methodology:
I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa from the British side. Because I wanted the British books to “compete” with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out.
I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here’s the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread] bold=winner, red=New to the list or moved up* the list since last year’s “Prizewinners” post
*Note that the IMPAC considers books a year after the other awards do, and so this year’s IMPAC shortlist nods added to point totals from last year in the case of three books.
11, 2003, The Known World by Edward P. Jones – C, I, N, P
9, 2001, The Corrections by Jonathan Franzen – C, I, N, P
8, 1997, Underworld by Don DeLillo – C, I, N, P
8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz – C, P, I
7, 2005, The March by E.L. Doctorow – C, N, P
7, 2004, Line of Beauty by Alan Hollinghurst – B, C, W
7, 2002, Middlesex by Jeffrey Eugenides – I, N, P
7, 2001, Atonement by Ian McEwan – B, C, W
7, 1998, The Hours by Michael Cunningham – C, I, P
7, 1997, Last Orders by Graham Swift – B, I, W
7, 1997, Quarantine by Jim Crace – B, I, W
6, 2005, The Inheritance of Loss by Kiran Desai – B, C
6, 2004, Gilead by Marilynn Robinson – C, P
5, 2008, The Secret Scripture by Sebastian Barry – B, W
5, 2008, Olive Kitteridge by Elizabeth Strout – C, P
5, 2007, Tree of Smoke by Denis Johnson – N, P
5, 2006, The Road by Cormac McCarthy – C, P
5, 2006, The Echo Maker by Richard Powers – N, P
5, 2005, Europe Central by William T. Vollmann – C, N
5, 2005, The Accidental by Ali Smith – B, W
5, 2004, The Master by Colm Toibin – B, I
5, 2003, The Great Fire by Shirley Hazzard – I, N
5, 2001, True History of the Kelly Gang by Peter Carey – B, I
5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon – C, P
5, 2000, The Blind Assassin by Margaret Atwood – B, I
5, 1999, Waiting by Ha Jin – N, P
5, 1999, Disgrace by J.M. Coetzee – B, C
5, 1999, Being Dead by Jim Crace – C, W
5, 1998, Charming Billy by Alice McDermott – I, N
5, 1997, American Pastoral by Philip Roth – C, P
5, 1996, Every Man for Himself by Beryl Bainbridge – B, W
5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser – N, P
5, 1995, The Moor’s Last Sigh by Salman Rushdie – B, W
5, 1995, The Ghost Road by Pat Barker – B, W
5, 1995, Independence Day by Richard Ford – C, P
5, 1995, Sabbath’s Theater by Philip Roth – N, P
4, 2008, Home by Marilynn Robinson – C, N
4, 2008, The Lazarus Project by Aleksandar Hemon – C, N
4, 2007, The Reluctant Fundamentalist by Mohsin Hamid – B, I
4, 2007, Animal’s People by Indra Sinha – B, I
4, 2005, Veronica by Mary Gaitskill – C, N
4, 2005, Arthur and George by Julian Barnes – B, I
4, 2005, A Long, Long Way by Sebastian Barry – B, I
4, 2005, Never Let Me Go by Kazuo Ishiguro – B, C
4, 2005, Shalimar the Clown by Salman Rushdie – I, W
4, 2004, Cloud Atlas by David Mitchell – B, C
4, 2003, Brick Lane by Monica Ali – B, C
4, 2003, Bitter Fruit by Achmat Dangor – B, I
4, 2003, The Good Doctor by Damon Galgut – B, I
4, 2003, Evidence of Things Unseen by Marianne Wiggins – N, P
4, 2002, Family Matters by Rohinton Mistry – B, I
4, 2002, The Story of Lucy Gault by William Trevor – B, W
4, 2001, A Fine Balance by Rohinton Mistry – B, I
4, 2001, Bel Canto by Ann Patchett – I, N
4, 2001, John Henry Days by Colson Whitehead – N, P
4, 2001, Oxygen by Andrew Miller – B, W
4, 2000, The Keepers of Truth by Michael Collins – B, I
4, 2000, When We Were Orphans by Kazuo Ishiguro – B, W
4, 2000, Blonde by Joyce Carol Oates – N, P
4, 1999, Our Fathers by Andrew O’Hagan – B, I
4, 1999, Headlong by Michael Frayn – B, W
4, 1999, The Blackwater Lightship by Colm Toibin – B, I
4, 1997, Autobiography of My Mother by Jamaica Kincaid – C, I
4, 1997, Grace Notes by Bernard MacLaverty – B, W
4, 1997, Enduring Love by Ian McEwan – I, W
4, 1997, The Puttermesser Papers by Cynthia Ozick – I, N
4, 1996, Alias Grace by Margaret Atwood – B, I
4, 1995, In Every Face I Meet by Justin Cartwright – B, W
The IMPAC Award shortlist was announced last night. The IMPAC sets itself apart with its unique approach. Its massive longlist is compiled by libraries all over the world before being whittled down by judges. This makes for a more egalitarian selection. It’s also got a long lead time. Books up for the current prize (to be named June 11th) were all published in 2007, putting the IMPAC more than a year behind other big literary awards. There’s a distinct upside in this. By now, all the shortlisted books are available in paperback. We’ve also always found the IMPAC interesting for the breadth of books it considers.This year’s shortlist includes a couple well-known names and has a decidedly more American bent than is typical, with four out of the eight shortlisted writers hailing from the States.The Brief Wondrous Life of Oscar Wao by Junot Díaz (Díaz in our Year in Reading)Ravel by Jean Echenoz (at The Complete Review)The Reluctant Fundamentalist by Mohsin Hamid (excerpt, at The Complete Review)The Archivist’s Story by Travis Holland (excerpt)The Burnt-Out Town of Miracles by Roy Jacobsen (in the TLS)The Indian Clerk by David Leavitt (Leavitt in our Year in Reading)Animal’s People by Indra Sinha (excerpt)Man Gone Down by Micheal Thomas (excerpt)
The International IMPAC Dublin Literary Award has unveiled its voluminous 2009 longlist. Recall that libraries around the world can nominate books for the prize, and these nominations, taken together, comprise the longlist. This year there are 146 novels on the list, nominated by 157 libraries in 41 countries. All of the books must have been published in English in 2007 (including translations).Because of the award’s global reach and egalitarian process, it’s always interesting to dig deeper into the longlist. Taken as a whole, the literary proclivities of various countries become evident, and a few titles recur again and again, revealing which books have made a global impact on readers.Overall favorites: books that were nominated by at least five libraries.A Thousand Splendid Suns by Khaled Hosseini (18 libraries representing Belgium, England, Germany, Hungary, Ireland, New Zealand, Northern Ireland, Scotland, Spain, Switzerland, Uganda, and the US)Divisadero by Michael Ondaatje (13 libraries representing Belgium, Canada, Germany, Ireland, Poland, South Africa, Sweden, Switzerland, and the US)On Chesil Beach by Ian McEwan (10 libraries representing Canada, the Czech Republic, England, Estonia, Germany, Portugal, The Netherlands, and the US)The Reluctant Fundamentalist by Mohsin Hamid (8 libraries representing Belgium, Canada, England, Germany, Ireland, Sweden, and the US)The Yiddish Policemen’s Union by Michael Chabon (8 libraries representing Canada, England, and the US)The Brief Wondrous Life of Oscar Wao by Junot Díaz (7 libraries representing Ireland and the US)The Gathering by Anne Enright (6 libraries representing Brazil, the Czech Republic, Germany, Ireland, and the US)What Was Lost by Catherine O’Flynn (5 libraries representing Canada, England, and Northern Ireland)You can also look at the list and see which books are favorites in different countries. Several books were nominated by multiple libraries in the same country. Here’s a few:In The Netherlands, The Dinner Club by Saskia Noort and Lost Paradise by Cees NooteboomIn the US, Tree of Smoke by Denis JohnsonIn Canada, Late Nights on Air by Elizabeth Hay and The Outlander by Gil AdamsonThere were also several countries with only one library nominating just one or two books. Here are a few of those:From Colombia, Delirium by Laura RestrepoFrom Barbados, Man Gone Down by Michael ThomasFrom Estonia, Between Each Breath by Adam ThorpeFrom Jamaica, The Pirate’s Daughter by Margaret Cezair-ThompsonFrom Russia, Tomorrow by Graham SwiftFrom The Gambia, Ishq and Mushq by Priya BasilThe shortlist will be announced on April 2, 2009 and the winner on June 11, 2009.