24 April 15 | Monica Carter

Tom Roberge is the Deputy Director of Albertine Books and Bookstore Liaison for New Directions.

Faces in the Crowd – Valeria Luiselli, translated from the Spanish by Christina MacSweeney, Mexico
Coffee House Press

Early in Valeria Luiselli’s Faces in the Crowd, she offers an explanation — of sorts — for the format of her book, a format that exists if not in service of her style, than alongside it, a fellow-traveler on the book’s quest.

Novels need a sustained breath. That’s what novelists want. No one knows exactly what it means but they all say: a sustained breath. I have a baby and a boy. They don’t let me breathe. Everything I write is—has to be—in short bursts. I’m short of breath.

This is a stand-alone paragraph, in its entirety, set apart from its predecessor and successor by several line breaks. And so the book unfolds in a series of observations and stories contained in paragraphs that more often that not relate to each other, but not always, much like the way the human mind functions. Its both trite and lazy to assert that this fracturing of ideas is a grotesque symptom of contemporary society, that we’re all beset by so many forms of media, by so many voices and concerns and assaults on our attention that we’re incapable of focusing on any one thought for more than a few minutes. And it’s especially trite and lazy because it presumes that people in different times and places were passive lumps of clay for whom the notion of multi-tasking, even intellectually if not physically, was an outright impossibility. It also smacks of nostalgia. All of which I say in order to say what I what to say about this book: it is all things. The structure and style, the jumping back and forth between past and present, accomplishes something mesmerizing: it paints a truly believable and empathetic and insightful portrait of life. It grabs hold of and dissects and analyzes life in all of its multifaceted glory and misery and whatever falls in between. But do not allow yourself to believe that this is a novel merely about contemporary life. No. It’s a novel about life. Full stop.

As fractured as I’m perhaps suggesting this book is, I want to make it clear the book as a whole doesn’t feel the slightest bit fractured. The paragraphs, as the book progresses, talk to each other. Stories from the narrator’s youth in New York unfold in between observations and stories of her current situation, mostly the detailed descriptions of her domestic life and how it informs not only her writing, but her ever-evolving outlook on the world at large. At one point she tells the story of Ezra Pound stripping down a poem from pages and pages of lines to what would eventually become “In a Station of the Metro.” It’s touching and literarily charming (I am a total sucker for anything related to Pound) and offers what might qualify as a manifesto in the context of this book: the idea that adornment or imparted symbolism or anything along those lines should be excised without mercy, so as to get to the heart of the thing. She follows through on her manifesto by not overpopulating the book, by keeping the narrative trajectories fairly straightforward. The result is that the important characters, the important places, have space to assert themselves, to become well-rounded and memorable. This idea also allows for stories to be revisited and re-positioned as new memories are injected into the narrative, creating, in the end, a story that has itself morphed over the course of the book, a story that comments on itself, saying, it seems: this is life; no more, no less.

* * *

The following is taken from another brilliant book, Maggie Nelson’s The Argonauts, in which she, too recognizes the inherent beauty in the quotidian. And I’m including it here in support of my argument on behalf of this book because, well, because why not.

The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margins, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

In the first sentence of this post, I mentioned the book’s quest. Here’s the thing: although there is a quest, there is no quest to or for any specific thing. No objective, no overarching morality, no ambition beyond the one that’s sitting front and center: a masterful demonstration that life and art are—or at least can be, and should be more often than they are allowed to be—quests without destinations, without endgames.

It’s no easy feat to do this with such captivating ease, and that’s why I believe this book should win.

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