8 minute read
RUN AND HIDE by Pankaj Mishra
run and hide
lover, Tag prevents troubled Caleb Miller from throwing himself off a bridge into the Chicago River. He runs away and sets off a bomb in Chinatown. Looking for answers about Caleb’s behavior, Tag meets with his psychiatrist, Dr. Seth Jacobson, a noted expert on past life regression therapy. It turns out that Jacobson has used hypnosis to awaken remarkably detailed memories of earlier lives in both Caleb and corporate accountant Gerald Cutter, another Son of Elijah, who vanished after killing his wife in a reversal of their usual BDSM roles. Determined to find out more, Tag persuades Jacobson to hypnotize her, unleashing some shocking memories of her own past lives. The news that the particle accelerator at Fermilab is Caleb’s likely target brings Tag together with Fermilab director Dr. Alex Torres, a researcher hunting for the Big C Particle, the seat of human consciousness. Given the stakes, which of these expert authorities can she really trust?
A wildly ambitious thriller that reaches for the skies in ways some readers will like a lot better than others.
RUN AND HIDE
Mishra, Pankaj Farrar, Straus and Giroux (336 pp.) $27.00 | March 1, 2022 978-0-3746-0752-4
An intense, probing novel examines rampant materialism and spiritual bankruptcy. Reprising concerns that informed several previous books, Mishra examines the consequences of capitalism, globalization, and the violence of greed on communities, families, and individuals. The narrator is Arun, who tells the story of his life and those of his friends Aseem and Virendra to Alia, a young writer aiming to expose the “Hollow Men” who have emerged from the so-called rise of the New India. Yearning to escape the squalor and humiliating caste system that marked their youth, the three, through dogged efforts, are accepted as students in a technical institute which, they believe, will launch them into a better future. “To be modern,” Aseem often repeats, “is to trample on the past; it is to take charge, to decide being something rather than nothing, active rather than passive, a decision-maker rather than a drifter.” Seduced by “fantasies of power,” money, and sex, Aseem and Virenda reinvent themselves: In New York, Virenda becomes a billionaire. Aseem, failing as a writer of literary fiction—like Naipaul, whom he venerates as “the prototype of the early twenty-first-century globalised man”—instead finds celebrity “as an environmental activist, cultural impresario and intellectual entrepreneur of the Global South.” Awash in money, he hobnobs with the international glitterati. Arun, meanwhile, beset by “a kind of guilt at wanting too much from the world,” retreats to a Himalayan village where he works as a translator. Yet he, too, is lured to the West, following Alia. Through Arun’s observations of educated, well-heeled liberals—Westerners and Westernized Indians—Mishra underscores the hypocrisy and pretentiousness of their overstressed “political and ideological
commitments”; the behavior that Arun tries to emulate in “a series of impersonations—believable performances, with hardly any slips and fluffs, as an upper-caste Hindu”; and the painful trampling of his past.
An astute, discomfiting journey into a wasteland.
PANPOCALYPSE
Moore, Carley Feminist Press (208 pp.) $17.95 paper | March 8, 2022 978-1-952177-60-6
At the intersection of disability, queerness, and the pandemic, one woman’s meditation on loneliness and connection. Originally serialized in the early months of the pandemic, this work of autofiction is narrated by Orpheus (sometimes called Carley and, briefly, Charlie), a queer disabled professor in her 40s. Orpheus is grappling with twin emotions: a loneliness forced on her by ex-lovers who don’t want to see her and a loneliness forced on her by a pandemic that won’t let her see the ones who do. As she rides through the mostly deserted city on her newly acquired bicycle, she hopes to see friends and her ex-girlfriend Eurydice. What she witnesses is sickness, police brutality, and brief moments of connection between and with strangers. Desperate to touch and be touched, when she gets an invitation through the dating app Lex to an underground club styled after the 1930s Parisian lesbian club Le Monocle, she jumps at the chance to go. Moore has a fascination with time; her nonlinear narrative is peppered with Orpheus’ childhood memories of abusive doctors and portals into other worlds and time periods. While Moore does not shy away from the heaviness of her subject matter, the gravity is nonetheless offset by her persistent gentle humor and her optimistic bent: “If nothing else, we have all had to slow down. Some of us had to stop altogether. Sick time is anti-capitalist, revolutionary if you can accept it or even see it. Care and community in the time of the police state are
run, rose, run
radical acts. Still, to this day.” And while the pandemic permeates every moment of the novel, Orpheus’ desperate search for autonomy, relationships, and self-actualization feels perennial.
At once timely and timeless.
OCEAN STATE
O’Nan, Stewart Grove (240 pp.) $27.00 | March 8, 2022 978-0-8021-5927-4
Prolific, protean O’Nan examines a familiar subject, hard-pressed workingclass life in America, through the lens of a Rhode Island murder. Ashaway, Rhode Island, in 2009 is a typical postindustrial town; the mill that employed most of its residents is closed, leaving people like Carol to scrabble for a living as a nurse’s aide to support her two teenage daughters. One of them, Marie, opens the novel with these words: “When I was in eighth grade my sister helped kill another girl.” This is not a whodunit but an exploration of why the murder happened; O’Nan tells the story with his characteristic compassion (and artistic boldness) by inhabiting the consciousnesses of four unhappy, conflicted females. Overweight, unpopular Marie is the fearful, helpless observer. Carol wants more for her girls than she has, “but exactly how that will happen she can’t imagine”—so she focuses instead on finding a new boyfriend who’s better than the parade of losers who have earned her eldest daughter Angel’s contempt. Angel can’t see any way out either; her post-graduation future promises little beyond continuing to work in her dead-end after-school job while privileged boyfriend Myles heads for college and “she’ll lose him to some rich girl.” Actually, Myles is already cheating on her with Birdy, the victim-to-be, whose lovestruck perspective is the fourth narrative strand. But she’s no rich girl; Birdy and Angel are more alike than different, frustrated and obsessing about a boy who doesn’t seem worth it. Seen only through others’ eyes, Myles’ role in the ensuing tragedy remains murky. The novel’s main thrust is also unclear; Marie’s closing monologue suggests themes of memory and identity that weren’t particularly evident as the story progressed. However, the book is rich in social detail, including the teenagers’ socially networked world, and warmed by O’Nan’s customary tenderness for ordinary lives. Everyday People was the title of one of his first great novels, in 2001, and depicting everyday people with sensitive acuity remains one of his principal artistic achievements here.
Not one of this gifted author’s best, though it’s finely rendered with poignant realism.
RUN, ROSE, RUN
Parton, Dolly & James Patterson Little, Brown (448 pp.) $22.49 | March 7, 2022 978-0-7595-5434-4
A singer/songwriter at the beginning of her career is befriended by a retired country-music luminary, but will the young woman’s past destroy her before her star can ascend? “Underneath that sweet, doll-faced exterior, there was something fierce and furious about AnnieLee Keyes. Some dark pain powered those pipes; Ruthanna was sure of it.” Like Bill Clinton before her, Parton has hooked up with Patterson to channel the details of her profession into a thriller framework—and in this case, to provide an album of songs purportedly written by the three main characters to be released at the same time. When we meet AnnieLee, she is on the run, hitchhiking to Nashville to escape some mysterious nightmare situation. Standing in the rain, she starts singing to herself: “Is it easy / No it ain’t / Can I fix it? / No I cain’t.” This will become “Woman Up (and Take It Like a Man),” one of the songs she debuts in a roadside dive called the Cat’s Paw, begging a place on the stage and playing a borrowed guitar before slinking off to sleep in a public park. But she has already been noticed by Ethan Blake, a handsome Afghanistan veteran–turned–Nashville session player and secret songwriter— “Demons, demons, we’ve both had enough of our own / Demons, demons, we don’t have to fight them alone.” He will take word of this tiny, skittish prodigy to his boss, the beloved Ruthanna Ryder, who has stepped back from a mega-career after personal tragedy—and who happens to own the Cat’s Paw. Ruthanna, who recalls the great Parton in coiffure, jewelry, generosity, and business know-how, sees her former self in AnnieLee— “Big dreams and faded jeans / Fit together like a team”—and immediately goes to work to help her climb the slippery ladder of stardom. But between AnnieLee’s durn pride and the vicious, violent marauders who are on her tail, it won’t be easy. Good thing Patterson was there to give Ethan those military superhero moves. Showdown in Vegas, y’all!
The fairy-tale characters and details of the country-music scene are so much fun you won’t mind the silly plot.
OUR AMERICAN FRIEND
Pitoniak, Anna Simon & Schuster (336 pp.) $27.00 | Feb. 15, 2022 978-1-982158-80-4
A journalist gets sucked into the orbit of an enigmatic first lady—and her life will never be the same. When we first meet Sofie Morse, the protagonist of Pitoniak’s engaging spy novel, she’s living in Split, Croatia, and “wondering if [she] had made the worst mistake of [her] life.” Why have Sofie— a journalist who’s left her job covering the scandal-ridden first term
