Come to a place like this, shut your mouth and your mind and walk on the moor, walk in the wind and the sun, and you will understand soon enough that this world is a great animal, alive and breathing, that we walk through it, we breathe with it, we are its breath, that when we stand on a mountain overcome by the sunset and all that it brings, or fall to our knees in front of an altar in the presence of something greater than ourselves, then we are sensing the animal shift and turn beneath our feet.
The prose is not remarkable in any conventional sense. It is clear, muted, and even pedestrian — a world away from the exuberance of Roberto Bolaño, the zing of Don DeLillo, and the lyricism of Ian McEwan — and, for that reason, Zeitoun has attracted a number of offhand dismissals from broadsheet critics. Indeed, even those who have praised the book’s narrative have expressed reservations about the prose, as if its lack of conventional beauty were a side-effect of Dave Eggers’ overstretched workload or, worse, a symptom of his inherently underwhelming literary capabilities. But since Eggers has repeatedly proven himself one of the most adventurous stylists at work today, it seems more likely that his prose in Zeitoun is unconventionally remarkable given the deliberation with which he attempts to make it appear unremarkable.
The clarity of his prose entails a stylistic about-face so radical that, far from making the prose inconspicuous, Eggers perhaps inadvertently calls attention to the prose itself and thus calls into question the purpose of its clarity.