I’ve been reading voraciously lately, hungry for the kind of craft that makes me sink into a book, that I can steal and learn from for my own. This binge put me eight books ahead on my reading goal for the year, but it wasn’t going to be satisfied until I found something really worth chewing on. Enter Warlight and The Reluctant Fundamentalist, two excellent books that helped me lean deeper into the book I am working on.
Retrospective Voice in Warlight by Michael Ondaatje
I was reading an issue of Brick, a Canadian literary magazine that always stretches me and yet always feels like home, when I realized that Michael Ondaatje (a writer who is featured in nearly every issue and whose work I once loved deeply) is someone I needed to return to. I picked up his first novel Coming Through Slaughter but couldn’t connect to the disjointed narrative the way I had with The Collected Works of Billy the Kid. Then I opened Warlight and it was just where I needed to be.
“There are times these years later, as I write this all down, when I feel as if I do so by candlelight. As if I cannot see what is taking place in the dark beyond the movement of this pencil. These feel like moments without context.” Michael Ondaatje, Warlight
The story centers on two children who are left by their parents in post-war Britain in the care of a mysterious man. The dealings around them are shady and the life tenuous, but they are also held tight by a bevy of strangers. It’s a gorgeous book on the sentence level and the characters are fascinating, but what captured me and piqued my writerly senses was the way Ondaatje uses the retrospective voice. He uses it for the same reasons that I am in my next book, because children and teenagers do not have a complete view on their experiences and interjections of a later, older narrator (even if it’s the protagonist at a later stage in life) allow the reader to view a book from a second angle that enriches the story (and allows the author more control over how the book is interpreted). Ondaatje tells us exactly what he’s doing, too:
“You return to that earlier time armed with the present, and no matter how dark that world was, you do not leave it unlit. You take your adult self with you. It is not to be a reliving, but a rewitnessing. Unless of course you wish, like my sister, to damn and enact revenge on the whole pack of them.” – Michael Ondaatje, Warlight
Without that second perspective, Warlight would be a book about an abandoned boy who falls for the lover of a man who visits their strange house that dark people flit in and out of. A boy who takes risks like ferrying unknown cargo up the Thames with a man he really doesn’t know. With the retrospective voice, and the way Ondaatje lays out the sections of his book, we can see why the children were abandoned, what was really happening in the world around them, and what was on that boat (and why). There’s a completeness in this, and even if it doesn’t bring joy, it brings satiety.
In my own book, the retrospective voice also allows me to reinterpret some cultural norms in the lens of today. If I have a raft of teenage girls running around trying to find their value through their relationships to men, that is one perspective born from the world they grow up in. If the narrator can see what they are missing, the reader gets the benefit of both views. It’s something that doesn’t always need to be spelled out, but I worry sometimes when our world is tenuous what happens if it isn’t spelled out.
This is something I struggled with in The House of Eve where the (richly drawn) characters were so trapped in their own worldviews on topics like a woman being wholly responsible for a pregnancy that I worried about audiences who wouldn’t see that the author is trying to point out the flaw in that logic. Women so beat down by the patriarchy that those words would reinforce their worldviews rather than lift them up. I like that Sadeqa Johnson trusted her audience enough to make that leap, but as someone who developed a lot of wrongheaded notions from my own early reading, I am warier.
Second Person Viewpoint in The Reluctant Fundamentalist
I know everyone else read The Reluctant Fundamentalist by Mohsin Hamid ages ago when it was still new. I’d watched the movie and liked it enough that I wanted it to sit before I encountered the book. I’m glad I did because the feeling of both is much the same and the distance allowed me to encounter this beautifully-written book from a craft perspective.
The Reluctant Fundamentalist is framed around a conversation between two people in a café in Lahore, Pakistan. The narrator addresses us (ostensibly the second person) as he tells us the story of his life of leaving Pakistan, attending Princeton, getting a prestigious job, and how 9/11 changed him.
This “let me tell you a story” framework is something Henry James used in The Turn of the Screw, though without the implication of the second person address. I say implication because the audience for this book is likely American and Changez is telling us all the reasons he fell out of love with America. Hamid uses the second person very effectively from the initial warming us up with his bright-eyed adoration of the U.S., through his souring, to the very last sentence where who we the audience is and what we’ve been up to all this time is painfully clear.
What I found especially compelling about the way Hamid frames this book is that he keeps surfacing back to that conversation we are ostensibly having at the café. Unlike James, who (if I recall correctly) drops us unto a narrative and doesn’t return to the fireside until the end, Hamid consistently reminds us throughout the book that we are in conversation with him. Maybe this is why the feeling of implication works so well.
“If you have ever, sir, been through the breakup of a romantic relationship that involved great love, you will perhaps understand what I experienced. There is in such situations usually a moment of passion during which the unthinkable is said; this is followed by a sense of euphoria at finally being liberated; the world seems fresh, as if seen for the first time; then comes the inevitable period of doubt, the desperate and doomed backpedaling of regret; and only later, once emotions have receded, is one able to view with equanimity the journey through which one has passed.” – Mohsin Hamid, The Reluctant Fundamentalist
The other thing Hamid does exquisitely in this book is metaphor where the description perfectly matches something Changez was going through (above, his feelings about losing Erica) but he is very much also talking about something else. It’s masterful and you realize as you read this book that Changez (or Hamid) was very much in complete control of the conversation from the very beginning.
I’ve been experimenting with this “let me tell you a story” framework within my own novel, but just on the first page. The Reluctant Fundamentalist made me question why I’m using it if I never return to it, if there is a craft justification or if it’s just an easier way for me as a writer to slip in and it’s become something I need to edit out. Time will tell, though if I could use it even half as effectively as Hamid, I’d be very proud.
Reading All the Social Justice Books
There’s one more thing I wanted to touch on, and that’s the fact that it’s never a bad time to pick up and actually read all those social justice books you bought during the pandemic or at the height of #BlackLivesMatter. Two that have really touched me on that front lately: The Light We Give: How Sikh Wisdom Can Transform Your Life by Simran Jeet Singh and Minor Feelings by Cathy Park Hong. Singh’s book was front of mind as I was reading about Changez’s experience in post-9/11 New York, when being a brown man with a beard was a challenge at best. Singh lived that experience and his compassion and humanity is something we can all learn from. While the book touches on many, many things I think have the potential to heal us, the lesson I’m carrying forward with me every day is to look for the divine in every other human, even when their choices are something I disagree with. It’s a really beautiful, thoughtful book and one I wish I could make everyone read.
Minor Feelings: An Asian American Reckoning is a blend of memoir and cultural criticism that really hit home for me. Like me, Hong “was the beneficiary of a mid-to-late-nineties college education, when multiculturalism was having its swan song” and I hadn’t realized until reading this book how much optimism for a better world that worldview had filled me with—and how much I have failed to reconcile with what our country became after 9/11. I appreciated the depth and foresight in Hong’s writing, especially in passages like this:
“The rise of white nationalism has led to many nonwhites defending their identities with rage and pride as well as demanding reparative action to compensate for centuries of whites’ plundering from non-Western cultures. But a side effect of this justified rage has been a ‘stay in your lane’ politics in which artists and writers are asked to speak only from their personal ethnic experiences. Such a politics not only assumes racial identity is pure—while ignoring the messy lived realities in which racial groups overlap—but reduces racial identity to intellectual property.” – Cathy Park Hong, Minor Feelings
She writes, “The soul of innovation thrives on cross-cultural inspiration. If we are restricted to our lanes, culture will die.” Make no mistake, this book is a rebuke of how we relate to race in America. And it is a very good and important read, one that pushed me to think harder about some important things.
I started writing this hours ago when Biden was still in the U.S. presidential race. He was not my candidate (I wanted someone who could say the world “abortion” out loud and who would fight louder for many of the things I believe in) but he was the candidate I was going to vote for. I am not pleased that he or the Democratic Party let this linger so long. We should have had a real primary, because there is strength in testing ourselves, in finding where we are weak and in trying to grow. We have the chance now to pick someone who will challenge us to a better future. They must beat Trump, but that should be only the baseline of our expectations. What if we allowed ourselves to dream again of being the country that is stronger because of our diversity not in spite of it? What if we embrace our changing demographics and try to care for all our citizens? I don’t know who the right person is, but I hope we go forward bravely and try to really find out. Life is short and the time for change is now.
In the meantime, I’m still reading too fast; maybe it’s the already waning days of summer or the tenuousness of the past few weeks (politically), but I’m also writing and editing and that is good. I’m also returning to books that help me explore the values I want to live by. What book has stopped you in your tracks lately?
Maybe the sweater came first, maybe an old copy of Granta focused on the sea, but somehow I found in that magazine an excerpt from Bella Bathurst’s The Lighthouse Stevensons that definitely cemented me on this path. The book is a history of how Robert Louis Stevenson’s grandfather, father, and uncles designed and built Scotland’s lighthouses and it’s filled with descriptions of impossible odds and astounding inventions. I’m still marveling over how thick the walls had to be to withstand the waves and that there’s a relationship between the fluted lantern and lighthouses that can actually be traced.
There was a line in The Lighthouse Stevensons about an island where tenants who lived on the shipwreck side paid immensely more rent that got me excited to read The Wreckers, and I was not disappointed. While the book is not entirely about Scotland (it’s fine, the sea is my true obsession), Bathurst does center her investigations on Great Britain. She delves into everything from the wrecks themselves to the laws around plunder to the needs and norms of the populations around the wreck-prone coasts, and it’s all fascinating.
The first fictional book in this list, Clear tells the story of a man sent to clear the last tenant off an unnamed Scottish island during a period when landlords were evicting tenants off their land so they could make more money. It was a period of great disruption that created a lot of poverty and fueled a wave of immigration to Australia and the United States. I don’t know if my ancestors were among those cleared, but I do know that the depth of humanity displayed in Clear was extraordinary, even for literary fiction.
I’ve been thinking a lot lately about the fundamental disconnect between people who see the world as
Who wouldn’t want to counterbalance the sweetness of the Christmas season with a book about femicide in Mexico? Okay, so I get that isn’t a selling point for most people, but if you’re reading Bolaño, you’re probably reading about it anyway and Cristina Rivera Garza’s book is so tender and personal, I’d recommend this 1000 times more than 2666 (which I did not finish because 400 pages in I decided I’ve had enough literary vaginal and anal rape for a lifetime). While Liliana’s Invincible Summer is sometimes hard to read, it’s hard to read for the right reasons, because Liliana is so lovingly portrayed as a whole person whose victimhood is one thing that happened to her, not her entire purpose. Which makes sense because Liliana was Cristina’s sister and Rivera Garza is sharing with us the love of a sister’s gaze.
What better way to follow up a book about a woman discovering her inner sculptor in a slowly rotting neighborhood than with a book about a Black woman trying to make her way on the Montana frontier with a terrible secret (horror-style)?
If the themes so far are in looking at people as people and trying to understand them across our differences, then Ariadne by Jennifer Saint is no exception. Technically this was a gift from my eight-year-old son (who loves Greek myths with his whole heart) but Imma guess he had a little help here from his dad. I’d read Elektra earlier in the year and was entranced by the deep exploration of this familiar material from a female viewpoint. I was less familiar with Ariadne’s story but that didn’t make me love this book any less. I got to see how little I knew about the Minotaur and then to catch glimpses of Daedalus and Icarus. Mostly, though, I really enjoyed learning more about Ariadne herself and her relationship with Dionysus. As this is my second of Saint’s books, I’m also realizing that what I like exploring is the archetypes we’ve been given and how they fit and don’t fit me and our modern world.
I don’t know how I got from Ariadne to Chilean Poet, but a non sequitur was the perfect leap into this book. I’ve read Alejandro Zambra’s work before and was excited to inhabit his worldview and to visit Chile again, a country I hold deep in my heart from the year I lived there as a kid.
Speaking of women ruling the world (even if it’s a fantasy world), 
Let’s be real, I was having a really hard time with this book for the first hundred pages or so. I was exhausted at night and only reading a few pages at a time, morning readings were slightly longer but always interrupted. I was not able to enter the very rich world of Milkman’s citified Michigan and I will definitely have to return to the beginning someday when I have the luxury of hours (and maybe a hot bath). One sentence, though, made me realize how deeply layered the whole book was and what I’d been missing by being a poor reader.
What scares me most these days is those who seem to have forgotten the similar things in whose quest we were once bound. Who have traveled so far toward some imagined future that they’ve left all the best things behind. Ripe by Sarah Rose Etter encapsulates all of this in such a visceral way that I’ve kept the book beside me in the month since I read it as I try to sort out my own complicity in the system and responsibility for changing it.
Well I’m off to re-watch Working Girl (did that to myself) and spend the next couple of weeks looking deeply into the eyes of the people I love most (and anyone else who will make eye contact). If you need a slightly more reassuring nudge towards pulling back to make the kind of world you want to live in, Begin Again by Oliver Jeffers brought me a lot of comfort in a hellish week at work. It’s a book for kids and anyone who wants to play a part, no matter how small, in making this planet a better place to be. My pledge to myself over the holiday break is to learn the name of at least one counter person at our new bakery, no matter how many pastries I have to eat to get up the courage to do that. If you have a similar pledge, leave it in the comments (along with your name) and I will happily be your accountability partner. I wish you, your loved ones, and your perfect strangers peace and much love for now, for always.
The hero of Lessons in Chemistry, Elizabeth Zott, is brilliant, accomplished, and under-recognized chemist in early 1960s America. While she has a deep understanding of chemistry, she is seemingly blind to a society that is trying to limit her from all angles—even though she brutally experiences those limitations over and over. I loved her hardheadedness (maybe my mom was trying to tell me something?) and the book was an all-too-familiar reminder of how many of the feminist (pronounced “women are people too, equally”) struggles of then still occur now. The story is engaging but this was not my favorite of these three books, I think in a lot of ways because while Zott stumbled her way to a better life by speaking to women’s intellect, marrying chemistry and cooking, and there were some happy triumphs, Garmus couldn’t rewrite the realities of society as a whole—sexist realities I’m still impatient to see resolved.
The Equivalents was the perfect followup to Lessons in Chemistry because it’s a nonfictional account of women’s experiences during the same era. For example, I learned by reading this book that (the fictional) Zott filled much the same role as Betty Friedan when she published The Feminine Mystique, prompting women to see that the oppression they felt was part of a larger pattern. But I also read this book for the creative community—something that grew here from something called the Radcliffe Institute, an entity that was created for extraordinary women to take time away from their household duties and get back to the intellectual and artistic pursuits they may have abandoned. The spine of this narrative is the (pre-existing) friendship between Sexton and Kumin, two poets, mothers, and wives and how they navigated their complicated friendship while building a sustaining creative community with each other and others at Radcliffe.
Because women of color were really the ones with the least access to something like the Radcliffe Institute, I reached for Cora’s Kitchen next. I own this book because I went to school with the author and because we’ve kept up a friendship (although often too distant) ever since. I remember Kim describing the general idea of this book to me at a bar in D.C. during AWP in 2011 as I wept over my grandmother’s death that morning and Kim continued to pour me amazing wine. Although I saw her again at AWP in Seattle this year, I’ve had her book on my shelf for much longer than that and it was a joy to finally have the right occasion to open it.