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The sex in the book flirts with sadomasochism that often spills into overt violence. The book truly shines, however, when Edie is able to bring her life and experience into scathing critiques of race and class.

She’s still coming into herself, and much of the book is dedicated to her introspection and analysis of her life.

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Everything seems full of possibility and yet nothing can go right: she’s broke, living in a mouse-infested Bushwick apartment, vacillating between mild depression and, after she loses her job, the hustle of the gig economy.

Field Notes is proud to once again be a sponsor of the Tournament of Books.Įdie’s life seems to revolve around disaffection and dysfunction.

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For gift-givers and completists, we have put together a custom, specially priced box set including the entire collection, and two old-school, water-transfer decals for your “Official Exploration Vehicles.” Plus, shipping is free in the USA! There’s a full range of Note Books and related stationery products at. She’s brought into his home by his wife, Rebecca (described as being a woman of “chunky, tragic sneakers and freaky competence”), where she also enters an uneasy, quasi-mentorship relationship with their Black foster child, Akila.įield Notes® “National Parks” Edition is made up of six 3-Packs of Memo Books featuring 18 of America’s iconic National Parks. She ends up in a relationship with Eric, an older white man in an open marriage. Luster is narrated in the first-person present by Edie, a Black 23-year-old editorial assistant stuck in one dead-end job after another, seeking to skirt the crushing banality of the office through hollow sexual liaisons (most often with her coworkers). Of being caught in the excruciating limbo between their disinterest and expertise.” But the whole genre is turned on its head: The affair is deconstructed when the narrator is invited into the man’s home-by his wife. Raven Leilani’s Luster begins with an affair with an older man, one laced with “the potent drug of a keen power balance. It is through Interior Chinatown’s satire that the feeble and hollow forms of representation in the media are revealed to be the sad jokes in which we all live.

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In his scene notes, Pirandello wrote that the characters in his play were not to seem unreal, but instead as “created reality, the creations of immutable fantasy therefore, more real and substantial.” As Interior Chinatown weaves its way through the intersections between staged life and life as a stage-even going through a rushed trial and love story in the book’s final third-the reader eventually comes to see Wu’s life and goals as bit parts in the American conception of race. And even though Willis’s life goal is to become Kung Fu Guy, it’s his mother who tells him, “Don’t be Kung Fu Guy… Be more.” This is how you lost your dad.” Willis’s mother, Dorothy, was once Young Beautiful Oriental Woman, but eventually became Old Asian Woman. Just some mystical Eastern force… this is how he became Sifu. “Everything has changed, nothing has changed… your father is no longer a person, no longer a human.

Wu is the son of Ming-Chen Wu, who studied kung fu and eventually got good work as the character Sifu, but to the family’s dismay. It even goes as far as to use the Courier font throughout (“an industry standard for screenplays,” the book’s font note reminds the reader). The book, told in the second person, takes form to the extreme: It is structured as a screenplay, divided into scenes and acts, with dialogue and scene rendered as it would be for the big screen.

The book renders the world of this SRO with rich attention to detail, describing for example how a broken shower pan on the ninth-floor bathroom means that those on the eighth floor live in the shadow of a simple dictum: “Water hates poor people.”

As if keeping pace with Netflix’s autoplay, the show never stops filming in the Golden Palace Restaurant below his Chinatown SRO. Interior Chinatown’s protagonist, Willis Wu, seems to always-already be inhabiting his character as Generic Asian Man on a buddy-cop show called Black and White. Known connections to this year’s contenders: “None.” His writing has been published or is forthcoming in Eater, Narrative, and the Believer, among others. Nishant Batsha ( Twitter) is a writer of fictions and histories.

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