{"id":165458,"date":"2023-09-15T10:30:05","date_gmt":"2023-09-15T14:30:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=165458"},"modified":"2023-09-14T11:50:32","modified_gmt":"2023-09-14T15:50:32","slug":"fall-books-zadie-smith-moyra-davey-and-maya-binyam-recommend","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/09\/15\/fall-books-zadie-smith-moyra-davey-and-maya-binyam-recommend\/","title":{"rendered":"Fall Books: Zadie Smith, Moyra Davey, and Maya Binyam Recommend"},"content":{"rendered":"
\"\"

Work Projects Administration Poster Collection, Public domain, via Wikimedia Commons<\/a>.<\/p><\/div>\n

Pick up Chloe Aridjis\u2019s Dialogue with a Somnambulist <\/em><\/a>and open it somewhere shy of halfway and find a piece of writing called \u201cNail \u2013 Poem \u2013 Suit.<\/em>\u201d It is only one page long. Read it. Ask yourself what it is that you just read. A story? A prose poem? An essay? A portrait? When is the last time you couldn\u2019t quite answer that question when confronted with a piece of contemporary writing? In our world of literary hyperprofessionalization it is not a question that comes up very often, and you may have to reach back into literary history to remember the writers who once provoked a similar uncertainty in you. Writers like Borges, writers like Kafka. Or even further back, to the undefinable and uncontainable prose of Thomas Browne\u2019s Urn Burial<\/em>, or those slivers of Sappho. Writers who thought of language as painters think of paint: not as means to an end but as the precious thing in itself.<\/p>\n

Within this single page of Chloe\u2019s three things collide\u2014that nail, a poem, a suit\u2014and all within one man\u2019s consciousness, although this consciousness is rendered externally, by a voice that comes from who knows where. But describing Chloe is hard: Why not read the whole thing for yourself, right now?<\/p>\n

<\/p>\n

A man walks down the street trying to recollect the final lines of an unfinished poem he had been composing two nights ago when the phone rang. It was his seventy-four-year-old mother calling to remind him of the suit she\u2019d ordered for his birthday, now ready for collection at the tailor\u2019s, although it was likely alterations would have to be made. He reaches the corner and treads on a large corrugated nail that goes rolling off the pavement and into the street. The man\u2019s first thought is that this nail has fallen out from somewhere inside him; his second thought is that it dropped out of the woman wheeling a bicycle a few metres ahead. His third thought is that the nail fell out of the teenager with the pierced lip who delivers the post each morning. Unable to draw any conclusions, the man casts one final glance at the nail now lying parallel to the tire of a parked car and returns to the matter of the unfinished poem, which, should he ever complete it, will surely fit him better than the tailor-made suit.<\/p><\/blockquote>\n

What I love about Chloe\u2019s work is the way it stages a series of rejections. It is not especially psychological. (The man does not think the nail has fallen out from inside him.) Nor is it overly obsessed with what we might call the relational. (The man does not think that the woman dropped the nail.) It rejects sociological generalizations. (The man does not think that the nail is the fault of this generation, or the internet, or \u201cthe way we live now.<\/em>\u201d) It is also beautiful. It sits like a jewel in your mind. It is not in the business of offering the reader prefabricated conclusions about the nature of social reality presented in the overfamiliar language of journalism, activism, or advertising. It is refreshingly unbound to any temporal sense of necessity. Chloe\u2019s writing matters not because its topics are ripped from today\u2019s headlines but because she is trying to illuminate this world using only words. The politics of her prose is existential rather than anecdotal, as it was with Kafka\u2019s. In what way can a human being be made to feel like a bug? asks Kafka. What\u2019s more significant in a person\u2019s life? asks Chloe. Events, ideas or things? Nails, poems, or suits? And the single-minded search for words that \u201cwill surely fit\u201d\u2014better than any template or tailored suit\u2014is what animates every page of this wonderful book.<\/p>\n

\u2014Zadie Smith<\/strong><\/p>\n

A friend in London handed me a copy of Kate Briggs\u2019s The Long Form<\/em><\/a> as I was about to board a plane, and I quickly read a hundred and fifty pages in the air. Over the next week or so the book bled into my dreams and my consciousness; I could think of almost nothing else but this story of a young single mother and her newborn, both in a desperate quest for sleep. There is a fly-on-the-wall quality to the prose, which sustains a quasi-verit\u00e9 account of the derangement (and joy) of new motherhood, whereby we imagine a story composed in real time, its author holding the baby in one arm and writing with the other. The Long Form<\/em> is also an exhilarating experiment in form, an examination of the function of time in the novel, which includes an irresistible graphic element that punctuates the narrative and helps to conjure the stagelike setting occupied by the maternal dyad. Briggs invokes E. M. Forster\u2014\u201cEvery novel needs a clock\u201d\u2014and indeed her novel\u2019s timepiece has us on the edge of our seat, turning the pages in anticipation. I finished The Long Form<\/em> and started again from the beginning; I wanted to understand how this miracle of a book had come to be; I was not ready to let go.<\/p>\n

\u2014Moyra Davey<\/strong><\/p>\n

Last month, I picked up Grand Tour<\/em><\/a> by Elisa Gonzalez, a debut poetry collection out next week. Together, the poems have the quality of a diary whose pages have been scrambled. Time moves according to its own logic, sometimes conflicting with the body moving through it. Someone is always leaving, arriving. The poems stake out beginnings and endings almost obsessively, but then fail to oblige them. Mother, father, sister, brother: the relations are cyclical, slippery, each person moving in and out of the thing they represent. In \u201cThe Night Before I Leave Home,\u201d Gonzalez writes:<\/p>\n

My brother turns to me near sunrise
\nto ask, What do you think he\u2019s doing? Right now?<\/p>\n

And I spin a story of a father
\nwaking to polish his teeth, spit blood
\ninto the eye of a porcelain bowl, wash a face like my brother\u2019s.<\/p>\n

That was a game, yes, us seeking the man
\nhe was when not hurting us one and then the other,
\nand then the game ended<\/p><\/blockquote>\n

It\u2019s so easy to read poems too quickly. But I\u2019ve been trying to return to these periodically, spontaneously, when I\u2019m not so desperately seeking plot\u2014though they contain that, too, and more.<\/p>\n

\u2014Maya Binyam, advisory editor<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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