“Call it autofiction, metafiction, or the post-Sebaldian novel,” as Stephanie Bishop writes, or, if you prefer, follow Charles Finch and call it the “granular introver[sion]” of those who write “barely novels, all in an ambiguous first-person indistinguishable from the author’s own voice.” Whatever name it goes by now or at some stage in future, there’s no denying that the last few years have seen the growth of a body of literature in which — among other things — truth and fiction begin blurring together, long stretches of essayistic contemplation marginalise conventional modes of character development, and scenes and events are sequenced in an associative way rather than being bound to the rules of narrative causality. Continue reading
“Brussels is old,” Julius says as he arrives in the city and observes what he calls “a peculiar European oldness, which is manifested in stone.” During the Second World War, he recalls, Brussels was declared an open city, essentially surrendering to German invasion in order to preserve its infrastructure and architecture, and, as a result, it avoided becoming “another Dresden” so as to remain “a vision of the medieval and baroque periods, a vista interrupted only by the architectural monstrosities erected all over town by Leopold II.” Unlike the metropolitan layering of Manhattan, absent the palimpsest of newness erasing and writing over the old, Brussels’ comparative antiquity bespeaks a preservationist relationship to the past which captivates Julius and seems initially to satisfy his urge to find his place, to locate himself, within the totality of the network of relations he sees extending far throughout time. Continue reading
What sense can one expect readers to make of the opening words of Open City? What speaker can hope to convey any meaning with words that flow out from a coordinating conjunction? “And so,” the speaker begins, “when I began to go on evening walks last fall, I found Morningside Heights an easy place from which to set out into the city.” Since nothing precedes that “And so,” the coordinating conjunction elides the cause of the speaker’s evening walks. But flip back a few pages to his aphoristic epigraph and consider how it issues a statement to which his walks may be a response. “Death,” it declares, “is a perfection of the eye.” Insofar as those words form the first full sentence of Open City, the subsequent “And so” coordinates the notion contained therein with the evening walks that the speaker discusses. “Death is a perfection of the eye,” and so, perhaps in some perverse courtship of death or otherwise in pursuit of perfection, the speaker sets out into the city each night and then, when his walks come to an end, he notices that they have afforded him an alteration of his perspective on his world. Having “fallen into the habit of watching bird migrations from my apartment,” he says,
I wonder now if [that habit and the evening walks] are connected. … I used to look out of the window like someone taking auspices, hoping to see the miracle of natural immigration. Each time I caught sight of geese swooping in formation across the sky, I wondered how our life below might look from their perspective, and imagined that, were they ever to indulge in such speculation, the high-rises might seem to them like firs massed in a grove.
The speaker’s name is Julius. He is a young Nigerian of German-Nigerian parentage who now works as an intern at a hospital in Manhattan. Given his first-person detailing of events, his perception of his surroundings is far more circumscribed than that of the knower of The Known World or the seer of Blood Meridian, and so, as he crosses and recrosses the city, he comes to hunger for a mode of perception that will make him more like them. He wants to develop a perfection of the eye that will, in a sense, allow him to obtain an omniscient view of the life he leads. Continue reading