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"The sense persisted that something more troubling was at work."
By Michael J. Ettner
[Note: Over 100 additional reviews of "Open City" can be found on Amazon's main product page for this book, here: Open City: A Novel.]
There is no reason to believe Teju Cole intended his debut novel to present a terrible challenge to reviewers, but that is exactly what "Open City" does. The only way a critic can genuinely convey the force of this book -- its full weight and effect -- is to break a covenant with the potential reader by entering the forbidden territory of the spoiler. There is a specific shock that hits you like a block of concrete when you reach the novel's final pages. No responsible critic will speak of it directly.
Instead, among positive notices of the book, you are apt to find a reviewer saying "Open City" is, in some non-specific way, a "tour de force." Another will cagily suggest something's amiss by labeling the story's narrator, Julius, a 32-year-old Nigerian-American who is completing a psychiatry fellowship in New York City, "an unreliable narrator." I will put it this way: what this enormously talented writer has succeeded in doing is crafting a multi-layered reading experience -- an experience you'll be dying to talk about with other readers.
Met with Cole's new voice, critics try to identify a comparable veteran, someone to cite as the writer this newcomer will remind the reader of. Candidates are piling up. One is Joseph O'Neill, who, like Cole, comes from mixed parentage and possesses a multicultural perspective. Critics mention O'Neill's 2008 novel, Netherland (Vintage Contemporaries), which similarly explores themes of displacement and anxiety in post-9/11 New York City. Another is Zadie Smith, who, like Cole, unabashedly tackles matters of race, class, the immigrant experience, and the suppressed elements of history whose exposure is our moral duty.
W.G. Sebald is mentioned as well, presumably for his erudition and a shared style of writing that is slow and meditative, seemingly without much of a plot, and dependent on the cumulative accretion of observations. Cole, however, is not a formal innovator like Sebald, and the reader may be relieved to learn Cole is a conventional technician, using standard-length sentences, paragraphs, and chapters. Albert Camus' "The Stranger" also has been cited as a model. At first blush this makes some sense (Meursault and Julius are both protagonists of alienation). But if Cole can be said to be shadowed by Camus, I think a stronger influence is "The Fall," with its restless, talkative confessor.
Another author I'd place on the list of comparables is Elizabeth Hardwick, and not just because of the New York connection. Cole shares Hardwick's keen turn of mind, her love of music, and her elegant command of language. Cole today, as Hardwick two generations ago, feasts on the endless supply of attractions that confront a walker in Manhattan. Both writers tune their ears to the innumerable personal stories waiting to be heard. (In an interview, Cole said he wanted "Open City" to show how much New York City is "a space full of ghosts and unfinished psychological business.") Finally, like Cole, Hardwick showed no fear in letting autobiography undergird her fiction, notably in her New York novel, Sleepless Nights (New York Review Books Classics).
And, to add one more plate to the table: I see resemblances to the methods of Roberto Bolano's By Night in Chile. Although Bolano's short novel uncovers different sins and belongs to an earlier time of stress in a foreign nation, it shares with "Open City" a narrator prone to non-stop outpouring of stories, of exquisitely observed morsels of experience. Both narrators, it could be said, are engaged in a sort of "talking cure" on their path towards revealed truth. In both novels, readers may find the meandering style frustrating. A stream of consciousness leaves some cold. Yet in each story everything contributes to form a devastating contemporary psychological portrait.
But enough. Let Teju Cole's "Open City" be what it wants to be: each reader's own discovery.
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