Editorial Reviews From Publishers Weekly Starred Review. Possibly the only negative thing to say about Coles intelligent and panoramic first novel is that it is a more generous account of the recent past than the era deserves. Americas standing in the world is never far from the restless thoughts of psychiatry resident Julius, a Nigerian immigrant who wanders Manhattan, pondering everything from Goya and the novels of J.M. Coetzee to the bankruptcy of Tower Records and the rise of the bedbug epidemic. In other words, it is an ongoing reverie in the tradition of W.G. Sebald or Nicholson Baker, but with the welcome interruptions of the friends and strangers Julius meets as he wanders Penn Station, the Upper West Side, and Brussels during a short holiday, and amid discussions of Alexander Hamilton, black identity, and the far left--a truly American novel emerges. Julius pines over a recent ex, mourns the death of a friend, goes to movies, concerts, and museums, but above all he ruminates, and the picture of a mind that emerges in lieu of a plot is fascinating, as it is engaged with the world in a rare and refreshing way. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved. --This text refers to an out of print or unavailable edition of this title. From Booklist Nigerian immigrant Julius, a young graduate student studying psychiatry in New York City, has recently broken up with his girlfriend and spends most of his time dreamily walking around Manhattan. The majority of Open City centers on Julius’ inner thoughts as he rambles throughout the city, painting scenes of both what occurs around him and past events that he can’t help but dwell on. For reasons not altogether clear, Julius’ walks turn into worldwide travel, and he flies first to Europe, where he has an unplanned one-night stand and makes some interesting friends, then to Nigeria, and finally back to New York City. Along the way, he meets many people and often has long discussions with them about philosophy and politics. Brought up in a military school, he seems to welcome these conversations. Upon returning to New York, he meets a young Nigerian woman who profoundly changes the way he sees himself. Readers who enjoy stream-of-consciousness narratives and fiction infused with politics will find this unique and pensive book a charming read. --Julie Hunt --This text refers to an out of print or unavailable edition of this title. Review Winner of the Hemingway Foundation/PEN Award for a distinguished first book of fiction Finalist for the National Book Critics Circle Award Reminiscent of the works of W.G. Sebald, this dreamy, incantatory debut was the most beautiful novel I read this year—the kind of book that remains on your nightstand long after you finish so that you can continue dipping in occasionally as a nighttime consolation. –Ruth Franklin, The New Republic A psychological hand grenade. –Alexis Madrigal, The Atlantic, Best Books I Read This Year “A meditative and startlingly clear-eyed first novel.” –Newsweek/Daily Beast Writers’ Favorite Books 2011 This year, literary discovery came, for me, in the form of Teju Cole’s debut novel, Open City, a deceptively meandering first-person narrative about a Nigerian psychiatry resident in New York. The bonhomous flâneur who strolls Manhattan from top to bottom, reveals, in the course of his walking meditations, both more about the city and about himself than we – or indeed he – could possibly anticipate. Cole writes beautifully; his protagonist is unique; and his novel, utterly thrilling. –Clare Messud in the Globe and Mail “On the surface, the story of a young, foreign psychiatry resident in post-9/11 New York City who searches for the soul of the city by losing himself in extended strolls around teeming Manhattan. But its really a story about a lost nation struggling to regain a sense of direction after that shattering, disorienting day 10 years ago. A quiet, lyrical and profound piece of writing.” –Seattle Times, 32 of the Year’s Best Books “[Open City is] lean and mean and bristles with intelligence. The multi-culti characters and streets of New York are sharply observed and feel just right…Toward the end, there’s a poignant, unexpected scene in a tailor’s shop that’s an absolute knockout.” –Jessica Hagedorn, author of Toxicology in Salon “Writers choose their favorite books of 2011” “I couldnt stop reading Teju Coles debut novel and was blown away by his ability to capture the human psyche with such beautiful yet subtle prose.” –Slate, Best Books of 2011 “An unusual accomplishment, ‘Open City’ is a precise and poetic meditation on love, race, identity, friendship, memory, dislocation and Manhattan bird life.” –The Economist, 2011 Books of the Year “The most interesting new writer I encountered this year.” –Books and Culture, Favorite Books of 2011 A Sebaldesque wander through New York. –The Guardian, Best Books of the Year “An indelible debut novel. Does precisely what literature should do: it brings together thoughts and beliefs, and blurs borders…A compassionate and masterly work.” – The New York Times Book Review “The cool, concise prose of Open City draws you in more quietly, then breaks your heart. Who knew that taking a long walk in Manhattan could be so profound?” –Jessica Hagedorn, author of Toxicology in New York Magazine “[Teju Cole] has a phenomenal voice…prodigious talent, beautiful language.” – WNYC’s The Takeaway “Beautiful, subtle, and finally, original…What moves the prose forward is the prose—the desire to write, to defeat solitude by writing. Cole has made his novel as close to a diary as a novel can get, with room for reflection, autobiography, stasis, and repetition. This is extremely difficult, and many accomplished novelists would botch it, since a sure hand is needed to make the writer’s careful stitching look like a thread merely being followed for its own sake. Mysteriously, wonderfully, Cole does not botch it.” – James Wood, The New Yorker “Nothing escapes Julius, the narrator of Teju Cole’s excellent debut novel…In Cole’s intelligent, finely observed portrait, Julius drifts through cities on three continents, repeatedly drawn into conversation with solitary souls like him: people struggling with the emotional rift of having multiple homelands but no home.”-- GQ “A complicated portrait of a narrator whose silences speak as loudly as his words—all articulated in an effortlessly elegant prose…Teju Cole has achieved, in this book, a rare balance. He captures life’s urgent banality, and he captures, too, the ways in which the greater subjects glimmer darkly in the interstices.”— The New York Review of Books “The most thoughtful and provocative debut I’ve read in a long time. The best first novel of 2011.” – The Daily Beast “In another novel the city would serve as a mere setting. Cole, though, all but foists it on us in case we might be tempted to narrow our view or even look away.”-- New York Daily News “Masterful.”—Kirkus (starred review) “Intelligent and panoramic…engaged with the world in a rare and refreshing way.”—Publishers Weekly (starred review) “One of the most intriguing novels you’ll likely read…the alienated but sophisticated viewpoint is oddly poignant and compelling…reads like Camus’s L’etranger.”—Library Journal “Unique and pensive.”-- Booklist “Open City is a meditation on history and culture, identity and solitude. The soft, exquisite rhythms of its prose, the display of sensibility, the lucid intelligence, make it a novel to savor and treasure.” —Colm Tóibín, author of The Master and Brooklyn “The pages of Open City unfold with the tempo of a profound, contemplative walk through layers of histories and their posthumous excavations. The juxtaposition of encounters, seen through the eyes of a knowing flâneur, surface and then dissolve like a palimpsest composed, outside of time, by a brilliant master.” —Rawi Hage, author of De Niro’s Game, winner of the International IMPAC Dublin Literary Award “A gorgeous, crystalline, and cumulative investigation of memory, identity, and erasure. It gathers its power inexorably, page by page, and ultimately reveals itself as nothing less than a searing tour de force. Teju Cole might just be a W. G. Sebald for the twenty-first century.” —Anthony Doerr, author of The Shell Collector If Baudelaire was a young African, wandering the streets of contemporary New York, this is the book he’d write. A melancholy, beautiful meditation on modern urban life, it has echoes of W.G. Sebald and Walter Benjamin and reveals Teju Cole as one of a talented new generation of global writers, at home in the world.”-- Hari Kunzru “A reader feels the density of [Julius’s] mind but also the fragility of his identity.” – Los Angeles Times “Magnificent…the trip is as meaningful as the destination. Open City is a remarkably resonant feat of prose.” – The Seattle Times “A quiet novel that somehow manages to scream.” – The Boston Globe “Quietly powerful.” – O: The Oprah Magazine “My favourite novel of the year, dreamlike and meandering, like the best of W G Sebald.” –Alain de Botton, The New Statesman “[A] remarkable and highly accomplished first novel. . . . exquisitely composed. . . .I have read it twice, and I still cannot pin it down to a theme or a type. At once symbolical and precise, part fiction, part reportage or memoir, it is beyond category.” –Jan Morris, The Independent About the Author Teju Cole was raised in Nigeria and came to the United States in 1992. He is a writer, photographer, and professional historian of early Netherlandish art. Open City is his first novel. He lives in New York City. From the Hardcover edition. Excerpt. © Reprinted by permission. All rights reserved. 9781400068098|excerpt Cole: OPEN CITY PART 1 Death is a perfection of the eye ONE And so 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. The path that drops down from the Cathedral of St. John the Divine and crosses Morningside Park is only fifteen minutes from Central Park. In the other direction, going west, it is some ten minutes to Sakura Park, and walking northward from there brings you toward Harlem, along the Hudson, though traffic makes the river on the other side of the trees inaudible. These walks, a counterpoint to my busy days at the hospital, steadily lengthened, taking me farther and farther afield each time, so that I often found myself at quite a distance from home late at night, and was compelled to return home by subway. In this way, at the beginning of the final year of my psychiatry fellowship, New York City worked itself into my life at walking pace. Not long before this aimless wandering began, I had fallen into the habit of watching bird migrations from my apartment, and I wonder now if the two are connected. On the days when I was home early enough from the hospital, I used to look out 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. Often, as I searched the sky, all I saw was rain, or the faint contrail of an airplane bisecting the window, and I doubted in some part of myself whether these birds, with their dark wings and throats, their pale bodies and tireless little hearts, really did exist. So amazed was I by them that I couldn’t trust my memory when they weren’t there. Pigeons flew by from time to time, as did sparrows, wrens, orioles, tanagers, and swifts, though it was almost impossible to identify the birds from the tiny, solitary, and mostly colorless specks I saw fizzing across the sky. While I waited for the rare squadrons of geese, I would sometimes listen to the radio. I generally avoided American stations, which had too many commercials for my taste—Beethoven followed by ski jackets, Wagner after artisanal cheese—instead tuning to Internet stations from Canada, Germany, or the Netherlands. And though I often couldn’t understand the announcers, my comprehension of their languages being poor, the programming always met my evening mood with great exactness. Much of the music was familiar, as I had by this point been an avid listener to classical radio for more than fourteen years, but some of it was new. There were also rare moments of astonishment, like the first time I heard, on a station broadcasting from Hamburg, a bewitching piece for orchestra and alto solo by Shchedrin (or perhaps it was Ysaÿe) which, to this day, I have been unable to identify. I liked the murmur of the announcers, the sounds of those voices speaking calmly from thousands of miles away. I turned the computer’s speakers low and looked outside, nestled in the comfort provided by those voices, and it wasn’t at all difficult to draw the comparison between myself, in my sparse apartment, and the radio host in his or her booth, during what must have been the middle of the night somewhere in Europe. Those disembodied voices remain connected in my mind, even now, with the apparition of migrating geese. Not that I actually saw the migrations more than three or four times in all: most days all I saw was the colors of the sky at dusk, its powder blues, dirty blushes, and russets, all of which gradually gave way to deep shadow. When it became dark, I would pick up a book and read by the light of an old desk lamp I had rescued from one of the dumpsters at the university; its bulb was hooded by a glass bell that cast a greenish light over my hands, the book on my lap, the worn upholstery of the sofa. Sometimes, I even spoke the words in the book out loud to myself, and doing so I noticed the odd way my voice mingled with the murmur of the French, German, or Dutch radio announcers, or with the thin texture of the violin strings of the orchestras, all of this intensified by the fact that whatever it was I was reading had likely been translated out of one of the European languages. That fall, I flitted from book to book: Barthes’s Camera Lucida, Peter Altenberg’s Telegrams of the Soul, Tahar Ben Jelloun’s The Last Friend, among others. In that sonic fugue, I recalled St. Augustine, and his astonishment at St. Ambrose, who was reputed to have found a way to read without sounding out the words. It does seem an odd thing—it strikes me now as it did then—that we can comprehend words without voicing them. For Augustine, the weight and inner life of sentences were best experienced out loud, but much has changed in our idea of reading since then. We have for too long been taught that the sight of a man speaking to himself is a sign of eccentricity or madness; we are no longer at all habituated to our own voices, except in conversation or from within the safety of a shouting crowd. But a book suggests conversation: one person is speaking to another, and audible sound is, or should be, natural to that exchange. So I read aloud with myself as my audience, and gave voice to another’s words. In any case, these unusual evening hours passed easily, and I often fell asleep right there on the sofa, dragging myself to bed only much later, usually at some point in the middle of the night. Then, after what always seemed mere minutes of sleep, I was jarred awake by the beeping of the alarm clock on my cellphone, which was set to a bizarre marimba-like arrangement of “O Tannenbaum.” In these first few moments of consciousness, in the sudden glare of morning light, my mind raced around itself, remembering fragments of dreams or pieces of the book I had been reading before I fell asleep. It was to break the monotony of those evenings that, two or three days each week after work, and on at least one of the weekend days, I went out walking. At first, I encountered the streets as an incessant loudness, a shock after the day’s focus and relative tranquillity, as though someone had shattered the calm of a silent private chapel with the blare of a TV set. I wove my way through crowds of shoppers and workers, through road constructions and the horns of taxicabs. Walking through busy parts of town meant I laid eyes on more people, hundreds more, thousands even, than I was accustomed to seeing in the course of a day, but the impress of these countless faces did nothing to assuage my feelings of isolation; if anything, it intensified them. I became more tired, too, after the walks began, an exhaustion unlike any I had known since the first months of internship, three years earlier. One night, I simply went on and on, walking all the way down to Houston Street, a distance of some seven miles, and found myself in a state of disorienting fatigue, laboring to remain on my feet. That night I took the subway home, and instead of falling asleep immediately, I lay in bed, too tired to release myself from wakefulness, and I rehearsed in the dark the numerous incidents and sights I had encountered while roaming, sorting each encounter like a child playing with wooden blocks, trying to figure out which belonged where, which responded to which. Each neighborhood of the city appeared to be made of a different substance, each seemed to have a different air pressure, a different psychic weight: the bright lights and shuttered shops, the housing projects and luxury hotels, the fire escapes and city parks. My futile task of sorting went on until the forms began to morph into each other and assume abstract shapes unrelated to the real city, and only then did my hectic mind finally show some pity and still itself, only then did dreamless sleep arrive. The walks met a need: they were a release from the tightly regulated mental environment of work, and once I discovered them as therapy, they became the normal thing, and I forgot what life had been like before I started walking. Work was a regimen of perfection and competence, and it neither allowed improvisation nor tolerated mistakes. As interesting as my research project was—I was conducting a clinical study of affective disorders in the elderly—the level of detail it demanded was of an intricacy that exceeded anything else I had done thus far. The streets served as a welcome opposite to all that. Every decision—where to turn left, how long to remain lost in thought in front of an abandoned building, whether to watch the sun set over New Jersey, or to lope in the shadows on the East Side looking across to Queens—was inconsequential, and was for that reason a reminder of freedom. I covered the city blocks as though measuring them with my stride, and the subway stations served as recurring motives in my aimless progress. The sight of large masses of people hurrying down into underground chambers was perpetually strange to me, and I felt that all of the human race were rushing, pushed by a counterinstinctive death drive, into movable catacombs. Aboveground I was with thousands of others in their solitude, but in the subway, standing close to strangers, jostling them and being jostled by them for space and breathing room, all of us reenacting unacknowledged traumas, the solitude intensified. One Sunday morning in November, after a trek through the relatively quiet streets on the Upper West Side, I arrived at the large, sun-brightened plaza at Columbus Circle. The area had changed recently. It had become a more commercial and tourist destination thanks to the pair of buildings erected for the Time Warner corporation on the site. The buildings, constructed at great speed, had just opened, and were filled with shops selling tailored shirts, designer suits, jewel...
Posted on: Tue, 25 Mar 2014 08:15:07 +0000
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