on my desk is a new feature on the blog where I jot down brief thoughts on the books I read, usually for class (and now also for leisure). Here are some of the books I’ve read since returning home from campus, during my hermit, 100-step count days inside the house.
What’s in your library?
What do you read in your midnight hour?
What do you read when you’re in crisis and you’re afraid?
(questions posed by the inimitable Profé Carrasco)
Outline, Rachel Cusk
FREAKING BRILLIANT! I started this on the plane back home and fittingly, the first chapter occurs on a flight. Following a writer who heads to Athens to teach a course on creative writing, the novel flits from a conversation with her seatmate on the plane to those she has with strangers, writers, and students in the city.
Often, I had to pause in the middle of reading just to underline the sentences that would leap off the page about anything: a piece of furniture, a waitress, the ocean, a dog, the back of a man. Cusk has a knack for spinning profound revelations about marriage, motherhood, or writing from the smallest of objects, which can hit you in the gut.
I suppose it’s a bit like marriage, he said. You build a whole structure on a period of intensity that’s never repeated. It’s the basis of your faith and sometimes you doubt it, but you never renounce it because too much of your life stands on that ground.
His aged back seemed to maroon us both in our separate and untransfigurable histories.
There is something incredibly radical and even divisive about this novel. It’ll either alienatingly subvert all your expectations about novelistic conventions or arrestingly reinvent them. A novel in ten conversations, the narrator’s own story and interiority never comes to the foreground, only emerging in contrast to the tales of those she meets. She is no longer the subject but only a vessel, a cipher, an interlocutor. Or as the novel puts it, a shape, an outline, with all the detail filled in around it while the shape itself remained blank.
Verdict: 🌓 🌔 🌕 🌖 🌗
Koolaids, Rabih Alameddine
Carnivalesque romp through time and space! A book unlike a book. There is neither a plot nor a clear sense of whose head we are in. Instead, the novel is a pastiche of genres, vignettes, quips, scenes, religious texts, dialogue, emails, and diary entries about the HIV/AIDS crisis and the Lebanese Civil War at the tail-end of the 20th century. The metaphor of war and contagion is particularly resonant right now, amidst the pandemic of our times. Critics have dismissed this novel, but I think it provides a telling glimpse into those whose lives are engaged in a perpetual war against a virus. For the characters, death — social death, and actual death — is the pathos of everyday living because intimacy gains the violence of warfare. Are the parallels not uncanny?
Verdict: 🌓 🌔 🌕 🌖
Tell Me How It Ends, Valeria Luiselli
Short but moving, with a brilliant title that grasps the soul of the book. Centered on the U.S.-Mexico immigration ‘crisis’, the slim book is about Luiselli’s experience working as a translator for child refugees at the New York immigration court. The forty questions the novel presents are drawn up by immigration attorneys but cannot encompass the complexity of the children’s lives. Yet, their responses determine whether they will be granted legal sanctuary in the U.S. or be repatriated to their old lives of horrific violence. The novel’s answer to the conundrum of interpretation — legal, cultural, narrative — is a reminder to all of us who search for neat answers and resolutions when wrapping our minds around a harrowing, ongoing crisis:
The children’s stories are always shuffled, stuttered, always shattered beyond the repair of a narrative order. The problem with trying to tell their story is that it has no beginning, no middle, and no end.
When narrative closure must be negotiated, then perhaps undocumented migrants and refugees are in no position to negotiate an end. They can only pray to arrive and to stay:
Before coming to the United States, I knew what others know: that the cruelty of its borders was only a thin crust, and that on the other side a possible life was waiting. I understood, some time after, that once you stay here long enough, you begin to remember the place where you originally came from the way a backyard might look from a high window in the deep of winter: a skeleton of the world, a tract of abandonment, objects dead and obsolete. And once you’re here, you’r ready to give everything, or almost everything, to stay and play a part in the great theatre of belonging.
Why did you come here? I asked one little girl once.
Because I wanted to arrive.
Verdict: 🌓 🌔 🌕 🌖
If you’re interested… read Borderlands/La Frontera: The New Mestiza by Gloria E. Anzaldúa; Fronteras Americanas by Guillermo Verdecchia.
The Great Derangement: Climate Change and the Unthinkable, Amitav Ghosh
In a moment when we are encountering the crisis of our own times, in a magnitude that seems to dwarf all that had come before, Ghosh’s treatise is a reminder that the looming threat of our time is climate change, lest we forget. Compellingly, by approaching climate change from his standpoint as a novelist, Ghosh argues that the modern novel in its fundamental tenets — the ordered regularity of bourgeois life, the gradualist predictability of nature, the human-centric ideals of the European Enlightenment — is complicit in concealing climate change. The climate crisis is, for Ghosh, also a crisis of the imagination.
In a substantially altered world, when sea-level rise has swallowed the Sundarbans and made cities such as Kolkata, New York and Bangkok uninhabitable, when readers and museum-goers turn to the art and literature of our time, will they not look, first and most urgently, for traces and portents of the altered world of their inheritance? And when they fail to find them, what can they do other than to conclude that ours was a time when most forms of art and literature were drawn into the modes of concealment that prevented people from recognising the realities of their plight? Quite possibly, then, this era, which so congratulates itself on its self-awareness, will come to be known as the time of the Great Derangement.
While there are alternative modes of writing in dealing with climate change than the realist one that he presents, Ghosh is still remarkably prescient in diagnosing the representational challenges that climate change poses to our imagination. A seminal work.
Verdict: 🌓 🌔 🌕 🌖
If you’re interested… read my Hist & Lit junior essay, “Reimagining the (Post)Human in the Age of the Anthropocene: the Cyborg Figure in Frankenstein and The Windup Girl,” which I’m happy to send to you ٩◔‿◔۶
Living to Tell the Tale, Gabriel García Márquez
(Please recommend to me your favorite memoirs, if you have any!! A character I’m currently writing is a ghostwriter, so I’m on a memoir reading streak.)
Impossible not to fall in love with the man and his life. Gabo’s memoir contains an imagination (and a language) so rich that it creates a world of its own.
Unexpectedly, Gabo’s entire life (and his fiction) pivots on the two-day trip with his mother to sell their childhood house. The memoir opens with that trip and goes on to his childhood, his education, his struggles as an emerging writer and journalist, the Barranquilla Group, the assassination of Jorge Eliécer Gaitán, his influences, and his community. Parts of it gets heavy, especially with the exhaustive introductions of names and places, and yet, the moments of resonance between his real life and his fiction are captivating to stumble upon.
I recommend the first half of the memoir. His childhood bears a haunting, almost unbelievable resemblance to the world in One Hundred Years of Solitude. As Gabo points out in The Fragrance of Guava, a book of interviews, “All I wanted to do was to leave a literary picture of the world of my childhood which […] was spent in a large, very sad house with a sister who ate earth, a grandmother who prophesied the future, and countless relatives of the same name who never made much distinction between happiness and insanity.” How lucky we are that he found it irresistible not to put it onto the page.
Verdict: 🌓 🌔 🌕 🌖
Chronicle of a Death Foretold, Gabriel García Márquez
Compact, stunning novella on murder, complicity, and premonition in a town that’s like an open wound. Based on a true story that happened in Colombia, the novella gives us the ending in its title and on its opening pages: Santiago Nasar is murdered. In a reportage style (no doubt reminiscent of Gabo’s own training as a journalist), the narrator unravels a baffling murder that the whole town knew about and yet no one intervened in. The inevitable conclusion is secondary to the question of collective guilt and human intentions. No single person is guilty because everyone is. The real suspense is not the whodunnit but why those who could have saved him and wanted to simply did not.
I recall Marquez’s observation in his 1982 Nobel lecture, The solitude of Latin America:
A new and sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth.
Storytelling is always a second opportunity. To engage in the creation of opposite utopias when reality is disillusioning and truth constantly eludes. In interrogating our darkest sides, a master storyteller like Gabo saves all of our souls.
Verdict: 🌓 🌔 🌕 🌖 🌗
Stay safe, with love,