This is the fourth book I’ve read from the longlist. I had read Luiselli’s previous nonfiction work, Tell Me How It Ends, which describes her experiences as a translator for children apprehended at the border, and I thought it was excellent. This is a much longer and more complex work of fiction, with multiple storylines and themes. It may have too much going on, but its ambition should not be held against it.
This novel falls squarely within the current trend of autofiction and combines a road trip, a marriage that is ending, and twin stories of children becoming lost in the southern Arizona desert. As I said, there’s a lot going on. The characters in the main storyline comprise a blended family of four who are traveling from New York to southern Arizona on a long, fairly leisurely automobile journey. The husband and wife are documentary sound specialists, by which they mean scholars and artists who record all kinds of sounds that help them understand and illuminate the built and natural worlds in which we live. The father is embarking on a new project set in Apacheria, the part of the United States that was the home of the Apache nation before they were massacred by Americans (and previously Mexicans) and relocated to reservations. The mother is continuing a project that records the sounds of unaccompanied children and southern border migration. Their two children, a girl aged six and a boy aged ten, are with them on the trip.
The family road trip aspect of the novel is structured by the journey and their work, which is contained in seven bankers’ boxes in the back of the station wagon. They contain supplementary material, including archival resources, and also the children’s selections for the journey (toys, books, photos). Along the way the mother reads from a book, Elegies for Lost Children, which tells the story of seven unaccompanied children who are riding La Bestia, the train to the US border, and that journey serves as something of a parallel roadtrip. The two storylines are brought together in the last section of novel, which is told from the son’s point of view; all the preceding narrative has been from the mother’s perspective.
The mother’s narrative ranges far and wide, from mundane and not-so-mundane observations of people and places along the road, to recollections and quotes from scholarly and creative books she’s read, to internal monologues about her husband and marriage. The husband is present as the driver and fellow artist, but he’s almost entirely silent, except for a few times when he talks directly to the children and less often to her. Luiselli namechecks many writers and thinkers, which fit into the flow of the story for me because I knew who most of them were. But if you aren’t as familiar with this literature it could be distracting or annoying. Some readers found it self-conscious and pretentious. I enjoyed it.Read the rest of this entry »