If this is what Tommy Orange writes for his debut, we have a major talent writing right now. My copy of There There arrived today. It's nearly 3 AM, and I just finished. No food, no sleep; I couldn't put this book down.

"This there there. He hadn’t read Gertrude Stein beyond the quote. But for Native people in this country, all over the Americas, it’s been developed over, buried ancestral land, glass and concrete and wire and steel, unreturnable covered memory. There is no there there."

That title gathers more meaning with every character, chapter and section. By the end the weight of not knowing exactly who you are or where you come from is a heavy weight even for a reader. All the characters have different experiences and difficulties, but they are all in search of connection to their own community, and none seem sure they belong to that community or if that community will allow them to belong to it. What is the character with an advanced degree in Native American Studies to do when he can't find a job? What about someone born with Fetal Alcohol Syndrome who wears his face as a constant reminder? What about native peoples who have to learn all of their heritage and how to practice it from YouTube or Google searches? Beyond poverty, unemployment, far too much alcoholism, there is death, devastation and a lot of shame in these characters. While they don't rise above in Hollywood ways, getting through the day - learning and growing and putting one foot in front of the other - while continuing to strive for that connection is pretty triumphant. 

The characters are fully realized. We know why they do what they do, and we get a sense of how they feel about their current and past selves. It takes a minute but we understand their connections to each other better than they do by the end of the novel. We also get a sense of how these people came to be so broken from the proud nations that the Americas have systematically wiped out. What is most clear is that the bloodbath that came to America with the first settlers has left a never-ending trail of trauma. And in case we might miss it from just the stories, there's one of the best essays -- seemingly well-researched and certainly well-written that pulls no punches right in the beginning of the novel. While the characters don't escape unscathed, neither will a reader. In writing this so openly and leaving the sharp edges intact, Mr. Orange has held a mirror up to the Americas - whether the reader is indigenous or not.

There are many major characters in this novel, all in various stages of heading to the Oakland Powwow. While some have visited a Reservation, they are mostly urban or suburban and none seem fully connected to their native culture. This isn't a reservation story or a historical account. These indigenous people live in the here and now, in the cities (mostly Oakland) and do all of the things everyone else in the city does, including riding the subway and not dressing up (except maybe on the day of the Powwow.) At first they don't seem to be related, but as the chapters and parts of the book move along, their connections become clear and that broke my heart even more. Missed connections, searching out parents or grandchildren you've never known, searching for yourself - all of these are explored and there are no pat answers. In fact, the book ends on one of the most wistful non-answers in recent memory. I love a book that refuses to put a pretty bow on top, and had Mr. Orange packaged the ending that way, everything that came before would have been cheapened.

What you get here is a journey, good stories, interesting characters, but no perfect answers. How could there be perfect answers to such a long history of carnage and stolen identity?

I've never read this before, nor have I seen the movie. Not sure how I missed the film, but I did. I was shocked at all the psychological twisty, rather deep and dark Freudian/Jungian stuff found in this novel. I mean, I knew it was a classic and sort of an intertext-something (I really should take a class on how to read a novel) to Jane Eyre, but I'm almost shocked at how affecting this novel was for me..

Oddly this is the second book in a row that seems to be a callback or response to another classic novel. I just finished a 2017 "response" (I'd call it) to the Great Gatsby (No One Is Coming to Save Us by Stephanie Powell Watts), and today I read Rebecca which is certainly a fierce response or some better word to Jane Eyre. Both novels stand very firmly on their own. They didn't need the other books, but it's incredibly interesting to see how they respond to some of the material in the earlier classics. If I have the time, someday, I'm going to take a class on how to explain myself better about books. Back to Rebecca...

Normally a simpering woman who is dying for a man to just sweep her away from it all (no matter when it was written) would turn me off. The fact that she's afraid to trouble him or speak up to him makes sense, but also made me very sad for her at first. The genius is though I kept thinking "pack it up. Leave him," I felt connected to the nameless narrator through the novel as if I was the one in her position. I felt stuck. I felt nervous. I cringed along with her. I found my pulse quickening every time Mrs. Danvers came near. I was scared - literally scared while reading this in the middle of the day.

The dreams that begin and end the book are stunning in the way they set the mood and tell the truth when our narrator can't seem to tell herself the truth. Her daydreams are full of fanciful, childish nattering, but the dreams are the real thing. The juxtaposition of the truth in her dreams v the silliness of her daydreams is very telling and full of foreboding. Du Maurier writes very melodramatic plot without ever tipping into sentimental or soggy language so well that it's almost easy to miss how melodramatic the plot actually is. She's also a master of class and all those games people play, which is a callback to Jane Eyre, but so much of this is in the narrator's fearful mind that it's wildly different from the actual scenes in Jane Eyre. 

I also think the nameless narrator is a perfect way to add one more layer of her personality -- added to her hair, the way she dresses, all of her hiding, acquiescing, nail biting, her class and the way they met -- this is a well-built and very believable character. The daydreaming tops it off for me. She can't deal with her life and shunts all of her wishes and fears into fantasy.

One more thought is that these women - the two Mrs. de Winters - are like two sides of the same person, and in the end de Winter manages to kill them both (and they're both willing to let him.) Sure, the narrator is technically still alive, but it's just a slower/different form of death. There's a lot to say about that from the world of psychobabble, but I'll spare us all.

My final thought was "did Sylvia Plath love this novel?" I don't know, but in her late (mostly Ariel-era) poems, there's a lot  that has the feel (and some of the imagery) of this novel. I tried to do a quick search, but all I learned is that Agatha Christie wrote to du Maurier about the nameless narrator.

Anyway, I loved it. It moved me. I'm not sure what I learned but if I'd gotten a degree in psychoanalysis, I would have wanted to use this as some part of my dissertation: especially in the responses of women to the women in the novel. 

Men may feel they get the upper hand by treating women poorly, but long before "me too" Yunior told us otherwise in these stories and in the novel.

Reread these after recent revelations by both Junot Díaz & women who were victimized by him. I was interested to see how this would affect the reading.

If you've missed the fireworks, a quick rundown:

1. Junot Díaz publishes a personal essay in the New Yorker (The Silence: The Legacy of Childhood Trauma) revealing that he was the victim of repeated childhood sexual abuse by a man in his neighborhood, that he's paid dearly for it, can no longer write and has mistreated women tremendously while trying to hide behind a mask of machismo.
2. Fairly quickly he is confronted by a number of women, notably women of color, other writers of sexual misconduct and verbal abuse.
3. He decides (with the full blessing of the committee) not to take his place as Chair of the Pulitzer committee.
4. Bookstores decide to remove his books from the shelves, others keep him on, nobody knows what the right thing to do is, and everyone picks a side.

All of this led to discussions - hell, thousands of discussions - around me, with women, with other survivors, with everyone but writers. I don't know any writers or I'm sure they'd have talked to me too. EVERYONE in the trauma community was afire with this discussion. Eventually some of us got around to his writing, and my response was that I hoped I'd still be able to read it, since I really have been a fan, and it made me sad to read in the NYer that he could no longer write. Then I grabbed these short stories off my shelf and read them. This is where I landed:

I loved these the first time I read them. I was just as uncomfortable with the over-flexing of what we now call toxic masculinity then as I was this time. In fact, I think my reaction was pretty much the same: the narrator's toxicity harms him and everyone else in his life, including his great love - but in the end, he's hurt himself badly (some great female writer might want to take the feminine perspective someday.) If only we could get people in real life to own up to how harmful toxic masculinity actually is for everyone.

The character in these stories is clear on how he's harmed himself, and while he may use bravado to try and mask his torment, it clearly doesn't work. Everything, including his body, breaks down.

 

Explanations are not Excuses. 

This is not to say that these fictional stories should be taken as an indicator of real life, but misogyny is a problem for everyone, and the pain in the voice of these stories spells that out. In fact, I think these stories might be used as an example of how badly misogynistic bullshit works out for everyone. Men may feel they get the upper hand by treating women poorly, but long before "me too" Yunior told us otherwise in these stories and in the novel.

As a person who has lived through some stuff, I'm glad to have read these stories the first time and again now. They are excellent, and the message is probably more clear now than it was the first time I read it, though my history hasn't changed at all. I still react badly to the mind games, abuses of power and name calling, AND I appreciate the stories. They have a moral dimension I now see even more clearly, and it's about far more than diversity or a "unique voice." Yunor spells out how harmful his misogynistic buddies and lifestyle are to both the women and the men in his life.

Sexual abuse begets pain, anger, confusion, acting out and abuse - sometimes even more sexual abuse. The issue is not on whose side will we fight - we should all be on the side of protecting children and getting everyone (including rapists and child molestors) help before this cycle begins in yet another person. Otherwise we are doomed to an assembly line of horrors. I'd bet that if you spoke to the man who abused Junot Díaz, he'd probably have some horror tales to share about his life. None of this excuses anyone. It does show how harmful it all is for everyone, be it the abused person, the perpetrator or the many people who have relationships with either of them through lifetimes. Abuse is poison. It harms souls. It murders a part of us that we can never regain.

When we have no tools for coping with this existential terroristic threat, we often cope in tremendously harmful ways - both to ourselves and those we love. Interpersonal relationships are forever changed, and we're all the victim - everyone in society.

 

This is why "rape culture" and "toxic masculinity" must end. It's killing as many men as it is women. It's a way of acting out, and it's unacceptable, if understandable. It will reach us all eventually, and nobody comes through unscathed.

As for the stories, the final line "sometimes a start is all we ever get" rings just as poignantly as it did before I knew so much about Junot Díaz.

I've been treating myself to rereads of books and authors I love, and I just reached to the Wallace shelf the other day with my eyes closed, so this got read again, and only for the second complete (cover-to-cover) time since I bought it because I didn't like it loads the first time. Honestly, if it wasn't written (and signed) by David Foster Wallace, I'd have given it away - not because it's oh so awful, but because it seemed like - on that first read - an uncharacteristically unending parade of toxic masculinity, which (as it turns out, on a reread and more than one close reads of a few pieces) is precisely the point and not at all true.

My penciled notes (I use pencil first, then go to various colors on later reads) haven't all remained legible, but they are harsh. Tucked in the back of the book was an envelope with an article written by David Foster Wallace, which I just learned can still be found online, so here is DFW on Great Male Narcissists in literature.

There's much to love about that piece. Here's one of many paragraphs I have squared off w/ my pencil: 

incorrigibly narcissistic, philandering, self-contemptuous, self-pitying … and deeply alone, alone the way only a solipsist can be alone. They never belong to any sort of larger unit or community or cause. Though usually family men, they never really love anybody-and, though always heterosexual to the point of satyriasis, they especially don’t love women.

What Wallace castigated in his ''Great Male Narcissists" piece - he goes after John Updike, and I'd add a hard case of Philip Roth to the mix. I'm sure there are many more, but these two men pioneered then glorified and received mounds of awards for toxic masculine self-absorption with a seriousness that doesn't seem to fit the subject matter. Women are readers these days, says Wallace, and women don't like those characters. (Complete with possibly the best quote ever, that I hope came from Mary Karr, but she won't claim it now that it's famous: "penis with a thesaurus.")

Wallace's hideous men here might be a kind of mirror held up to the characters in these most toxically male novels. Not surfacely toxic like American Psycho, but the ones that seem more benign - even sometimes just stupid. I think Wallace was staring at humanity and showed us in these stories a bit of the ugly side of what he saw.

On first glance, these characters (all written in a terrifying first person feel, even if it's not actually in first person. In other words - you feel like you're inside these hideous men while reading these stories - no, you eventually become the people, whether you want to deal with that or not) but anyway, on first glance they seem like caricatures. On a closer look they are carefully constructed and while hideous and scary, this book contains some of the best writing DFW did (and I'm including Infinite Jest in that appraisal.) After IJ, Wallace was clearly upset that everyone found his very sad and terrifying novel "hilarious." He didn't set out to write an hilarious novel and didn't feel he had. I'd agree with him that IJ isn't just hilarious, but there are parts that are very very funny, and there's no getting around that.

So Brief Interviews feels like a direct reaction to the reaction that IJ got. Nobody would call this "hysterical realism" or find much about this funny. What is so sad is that this book got horrible reviews in many quarters because it requires close attentive reading, deconstruction, doing a fair amount of research at times, certainly a dictionary and internet access if you are to understand some of these stories. He knew that. He probably knew the newspapers with their deadlines would not "get" this book, and he surely could have guessed that many people would mistake the author for any one of the horribly misogynistic, self-absorbed, overly verbal yet emotionally stilted men found in the pages. Or maybe he didn't think that far. I don't know. I honestly didn't spend much time reading criticism of DFW until after he'd died, and then it was just because I wanted more DFW and rereading everything every year only got me so far for so long.

While this is the second time I've read this in its entirety, I've read many of the pieces very closely many times. This book contains a few of my favorite pieces from David Foster Wallace: The Depressed Person, Octet, Think, Suicide as a sort of Gift (which I like more for personal than literary reasons,) Datum Centurio (which took me at least 10 reads just to begin to crack the code - but it's oh so worth it,) the prayer-like overview of life found in a young boy's dive -- Forever Overhead, and the stunning Church Not Made with Hands. Those are my favorites. That's a lot of the book right there. 

And holding all of these gems together are the Brief Interviews. They have no questions because the men answering know the questions and don't need some interviewer to ask the obvious. They tie the book together - making it, in some weird way like a novel - defending against what they know we think.

 This book, like all of Wallace's fiction, makes the reader sweat. If you're not educated in many subjects, like I'm not, you have to work harder to figure out what might be a reference even before you then move on to what that reference might mean. As in all of his work, it requires a dictionary on round one, note-taking and time - time and more time. It requires multiple readings, and it rewards them (much like all of his fiction does. The later the writing, the more time it will require.) Sometimes it requires reading aloud, over and over. Sometimes it requires a notebook to write questions and then another notebook to puzzle them out. And maybe a third or fourth when you find you've gone down a bad alley and need to find your way back to a better start.

"Look at it."

demands an uncharacteristically short sentence very early on. And that's really what this entire book asks of us. Look at it. Not at him - but it -- life, death, horrors, terrors, bullshit, you name it. At the end of that story, I've written (in a later read - purple pen) a long paragraph that includes "this is the whole book. He wants us to stop and really look" and after more words ends with "We need to STOP. and THINK. And allow ourselves to feel it for as long as it takes, no matter how horrible that is." So, clearly I'm not the writer, but it stuck me somewhere along the line that this was exactly what my shrink took decades to beat into my brain and still reminds me on a bi-monthly basis. It's too easy to just stay up on the surface. I need someone to remind me to plumb the depths. I think these stories, the book entirely asks the reader to do exactly that - plumb the deep, scary depths. 

And yes, that's way more work than I'd offer to many writers. I can think of two (only one of whom is still alive) I have enough faith in to do the work required every time. Sometimes it doesn't pay off. I've found that with Wallace, especially as he matured as a writer, it does.

I doubt I was Wallace's intended reader. I think he thought his reader would be more literate than me and I know he expected his reader to be more formally educated than me. I have advanced degrees but they are very narrow subjects and I spent my early life in music school, so I missed a lot of that classic liberal arts education. I think he thought his readers had a lot of the references already at their fingertips. No matter. I find that reading like this is more satisfying than almost any other kind. And even so, I wouldn't recommend this book to anyone. I might suggest it if someone asked for certain things. I've suggested some of the pieces to other people, but only in response to something specific they've discussed with me.

Why am I willing to work so hard to make sure I'm getting as much out of this book, and his other work too, as I can? Because it's worth it to me. There is a pay off. In fact the payoff is bigger every time I put a bit more work into it. The feeling isn't like figuring out a problem. It's like finding a deep truth or meaning or finally grasping something you have sort of felt for a long time but never had enough of a grasp to figure out. I find meaning in this work.

And the meaning isn't "misogynistic bullshit" like some reviews I've read on some sites. It's exactly the opposite, actually. These men are, by and large, misogynists (and the women aren't so hot either.) Everyone is hideous, save perhaps the diving boy and the man in Think (though even he is not a perfect specimen.) But this hideousness is something we've all seen, perhaps been - if not exactly in the same way. There's a universal truth in this group of stories, and there's writing that I can't even begin to explain (though I'd recommend Zadie Smith's essay "The Difficult Gifts of David Foster Wallace" for a clear and understandable explanation of why this writing is so blindingly excellent at times.) 

So, if on a first read I found these nameless men and women almost cartoonish, it's because I could only see the surface on that read. Here's what I wrote after that read: 

These men really are hideous. I mean they are awful people, and people is a very kind word for these characters. So few of them have names or faces. They are simply babbling egos, many of them narcissistic others outright sociopaths The word hideous is important because it is exactly correct, yet so many of them come off as your average know-it-all at the bar it's depressing.  Structured around the "brief interviews - given places and names, but only answers" the stories are unrelentingly bleak and horrible. I can't even call them tragic because they're not complete enough to be tragic characters.

I was wrong. They're more complete than I could see on a first read. I was looking for an easy answer, not a psychological/philosophical ocean that I'd need to dive into and swim for a while before I could understand what lies beneath.

Wallace was most experimental in his fiction, and his craft and  talent are on rare display here, with none of the easy humor or zing found in all of his previous work (including his political reporting and scholarly work.) Infinite Jest is a much easier read. It feels like a beach read compared to these very short stories. 

But there's something much more real here. Something that I can't explain. I learn about people - myself included - from reading these stories. He was already, in this first work after Infinite Jest, pushing himself to a much deeper place. And he set a high wire that he manages to walk in most of these pieces. 

This book gets a bad rap because everyone wants it to be easy and they want it to be like the earlier nonfiction or Infinite Jest. It's not. It's different. You can feel the growth of an already talented artist here. But I can't recommend this group of stories - or any of Wallace's fiction - to anyone without knowing something about that person and what they might be seeking. The one person I've recommended most of these pieces to is my therapist. And I read them along with him, notes in hand, breaking things down, explaining what I thought various things mean. (And, um, I'm SURE I'm wrong about most of these things.) But this is the kind of person I'd recommend these stories to - someone who is deeply concerned with the darkest, saddest, hardest parts of humanity, and someone who already knows how ugly human beings can be when they're shown without any fancy make-up and easy laughs.

If it sounds like I'm defending this book, I am. I think this is Wallace upping his game, projecting toward what he might try to do in long form in a novel someday. I don't know if it's doable in long form. It could be way too hard and way too heavy. This book is very heavy, but once I started to break it down, and really read it carefully, I became even more enamored with the soul of David Foster Wallace, and to me that soul is anything but hideous.

~ All You Need Is Love, help, education, communication, money, humility & hair tips ~

When I like something, I often can't tell you why. Most of my favorite books are still waiting for the reviews I can't get right in my head; so here's what I noticed about this book:

I expected it to be more hard-hitting in the areas of cross-cultural or cross-racial adoption, but it is subtle throughout. Even when making hard-hitting points, the touch is light. I also expected more stupid white people, to be honest, but all of the characters come with their own unique strengths and weaknesses, blind spots and positive traits. Nobody is a hero, everyone is a real person. The characterizations are mostly believable and treated with dignity.

Rumaan Alam wisely steers around lots of potential pitfalls by setting this novel between 1985 and 1999, when the world really was a different place in many ways. At times the irony is so heavy it left drops on my table, but it's never sarcastic or mean-spirited. The characters are all learning and growing, and nobody gets off easily when dealing with race, family, class, gender, background or other issues... Almost more than race and class, what I read here was a uniquely American book. I can't remember being as optimistic as the people in this book, but it's impossible to regain ignorance in a post-everything world. These characters still have the Twin Towers (and even eat at Windows on the World,) haven't seen a full-on war in decades, and truly believe things are getting better. So beyond the obvious issues of race and class that get most of the ink in reviews, there is also a careful and poignant exploration of what it means to be American now that we know what these characters have yet to experience.

I couldn't help wondering what would happen in just a few years, when it all started to crumble for this family - I'd love to have followed them all through so many more points in history, and while it wasn't a cliff-hanger, I'd like to see the next decades covered by the adopted son if I got to make wishes into books.

Finally, Alam does another good job of writing from a woman's perspective including the way sometimes nobody "gets" a friendship from the outside, even other people who are close to one of the friends, even when it seems like the friendship can't possibly be "real." He must've done a lot of research since he covers everything from birth and breastfeeding to clothing styles from the era. After seeing some women respond angrily about a man writing "women's thoughts," my reaction was "well, I'm not a mom, never gave birth, never breastfed - would *I* be allowed to write this book?" This "who gets to write what" thing bothers me in many ways and is personal in many ways to me. Maybe I'm overly sensitive, but  Rumaan Alam is the son of Bangladeshi immigrants, married to a white man with whom he's raising two adopted black sons in Brooklyn.

When it comes down to it, families are more than blood or the way others perceive us. Love will not heal everything, but it also doesn't harm anything. Parenting is hard for everyone from time to time. It's probably very wise - whether you've adopted a baby or born your own - to allow others to offer wisdom and insight (on more than the basics.) Knowing what you don't know might save your family. And it will certainly save your kid's hair!