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But it was only when he held his boots on my neck, pressing down so that I could no longer breathe, that I knew, for certain, I would die.”īooks Review: Hernan Diaz’s jigsaw-puzzle novel aims to debunk American myths In one powerful juxtaposition, Mohammed is attacked by a British soldier: “He bashed my skull, and I went numb. These toggles aren’t merely fancy jump cuts the stories and eras blur together like overlaid transparencies. The braided narrative skips between Kip the frustrated 21st century novelist, Mohammed the 20th-century gay Black Egyptian and “Kip,” a character in his own novel “The Nowherians” - yes, the nowhere men.
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Yet Donaldson is after something larger than literary New York’s blind spots. Kip confesses that he’s been “obsessed with the idea of being recognized by the publishing world” because “for some surely problematic reason, as a Black, gay man, I need the world to say, I see you. If Donaldson did nothing else in this novel but tell Kip’s story, his sensitive investigation into isolation would make it notable. He’s not just looking for a book deal he wants answers: “What if Mohammed wants to tell me about his experience so that I know, from his perspective, where we queer, Black, colonial men have come from?”Īnd so Kip places his hopes, perhaps foolishly, in book publishing. If he didn’t, he probably wouldn’t attempt to write a novel in three weeks, let alone lock himself in a room with meager rations. Mommy issues, daddy issues, husband issues (his spouse of seven years has just asked for a divorce) and much, much more. That would be interesting!”Īs you’ve likely already gathered, Kip has issues. When the editor demurs, he begs her to share what kind of novel would catch her attention: “’Well,’ she said, focusing on me again, speaking firmly, ‘perhaps if you were to tell it from the perspective of Mohammed. Forster and his young lover in Egypt, a tram ticket collector named Mohammed El Adl. Kip had wanted to write a novel about the great (and long-closeted) English novelist E.M. Besides, he adds, “I’m useless at anything but writing.” “All my life, through all the various ups and downs, I’ve only had one enduring dream: to be a published writer,” Kip tells us. As the story begins, Kip (short for Kipling) Starling has barricaded himself in his basement study with “five boxes of Premium Saltine Crackers, three tins of Café Bustelo, and twenty-one one-gallon jugs of Poland Spring water,” determined to write the novel an editor has told him she’d read if he could finish it in three weeks. Ostensibly about a young queer man in Manhattan, “Greenland” is also a novel of identity and place, but it is less about claiming one’s own territory than deciding who gets to come inside.
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But not since Iris Murdoch’s “The Philosopher’s Pupil” have I read a novel crammed full of so many ideas and tropes that they threaten to spill out of its margins. David Santos Donaldson’s debut, “ Greenland,” is certainly both. The novel-within-a-novel is nothing new nor is the novel-as-time-spanning-cultural-interrogation.
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