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The Other Americans: A Novel, by Laila Lalami
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Review
Named a Most Anticipated Book for 2019: Entertainment Weekly, The Boston Globe, New York Magazine/Vulture, The Millions, Bustle, Electric Literature, Nylon, HuffPost, BookPage, The BBC, and Buzzfeed"A compelling portrait of race and immigration in America... Lalami is remarkably skilled at rendering the interior lives of her cast."—Time"What a monumental challenge it is to reveal the state of America, to assert what unites and divides us — and what remarkable insight Lalami demonstrates by doing just that. Her interrogation is rigorous, and her provocations — about love’s dangerous power, the ties between resentment and privilege — resonate through to the last page."—Entertainment Weekly"A powerful novel of intolerance and compassion, resilience and weakness, love and loss, populated by flawed but sympathetic characters whose lives are rocked by actions and emotions beyond their control."—The Economist"Pulitzer Prize finalist Lalami (“The Moor’s Account”) may be our finest contemporary chronicler of immigration and its discontents. Her new novel spares no one, and it’s the kind of page-turning mystery you crave for a rainy reading weekend. The book uses different perspectives to uncover the real story behind a Moroccan immigrant’s death in a California intersection."—The Washington Post"From its first sentence, The Other Americans grabs the reader with its directness and urgency."—Minneapolis Star Tribune"Laila Lalami describes all her characters brilliantly — literally so: They spring from the page. Readers can see many of them vividly, and empathize with the problems that shape their behavior, even while sometimes feeling irritation... The construction of this novel is deft. As the author moves among the characters’ tales, she engages different parts of our minds and hearts. Our feelings and ideas are enlarged. At the end, the Americans in these pages are no more “other” than anyone else in this nation of immigrants. The novel has done its job because of Laila Lalami’s extraordinary descriptions of personal dynamics and her evocations of place, especially the desert."—The Washington Times“Remarkable, timely novel. Impeccably written story about a hit and run, a family that must grapple with their grief as they try to make sense of why they’ve lost Driss, the patriarch, and the slowly unraveling mystery of who is responsible for the unthinkable. I love the depth of character here for Nora and Jeremy. The narrative is good from many points of view but theirs is the heart of this story and what a beautiful beating heart it is.” —Roxane Gay“It’s a combo love story, mystery and literary exploration of immigration in America.”—Nicholas Kristof“This deftly constructed account of a crime and its consequences shows up, in its quiet way, the pressures under which ordinary Americans of Muslim background have labored since the events of 9/11.”—J.M. Coetzee, winner of the Nobel Prize in Literature “A writer of uncommon conviction and tremendous insight.” —Viet Thanh Nguyen, author of The Sympathizer"Lalami’s crisp, straightforward prose offers the perfect counterpoint to the complexity of her plot, which artfully interweaves past and present. Reminiscent of Ann Patchett’s Commonwealth in its depiction of the enduring effects of family secrets and betrayals, The Other Americans also addresses a multitude of other issues—immigration, prejudice, post-traumatic stress, love and murder—with what can only be described as magical finesse."—Bookpage (starred review)"Powerful...In a narrative that succeeds as mystery and love story, family and character study, Lalami captures the complex ways humans can be strangers not just outside their “tribes” but within them, as well as to themselves."—Publishers Weekly (starred review)“Lalami impressively conducts this chorus of flawed yet graceful human beings to mellifluous effect…An eloquent reminder that frame of reference is everything when defining the “other.” —Booklist (starred review)"Lalami is in thrilling command of her narrative gifts, reminding readers why The Moor's Account was a Pulitzer finalist...Nuanced characters drive this novel... Lalami expertly mines an American penchant for rendering the 'other.'"—Kirkus Reviews (starred review)
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About the Author
LAILA LALAMI was born in Rabat and educated in Morocco, Great Britain, and the United States. She is the author of the novels Hope and Other Dangerous Pursuits, which was a finalist for the Oregon Book Award; Secret Son, which was on the Orange Prize longlist; and The Moor's Account, which won the American Book Award, the Arab American Book Award, and the Hurston/Wright Legacy Award. It was on the Man Booker Prize longlist and was a finalist for the Pulitzer Prize. Her essays and opinion pieces have appeared in the Washington Post, the Guardian, the New York Times, and in many anthologies. She writes the "Between the Lines" column for The Nation magazine and is a critic-at-large for the Los Angeles Times. The recipient of a British Council Fellowship, a Fulbright Fellowship, and a Guggenheim Fellowship, she is currently a professor of creative writing at the University of California at Riverside. She lives in Los Angeles.
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Product details
Hardcover: 320 pages
Publisher: Pantheon (March 26, 2019)
Language: English
ISBN-10: 1524747149
ISBN-13: 978-1524747145
Product Dimensions:
6.4 x 1.1 x 9.5 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
7 customer reviews
Amazon Best Sellers Rank:
#1,206 in Books (See Top 100 in Books)
My perspective on reading this book is to forgo guessing what is going to happen, or trying to determine how accurate your suspicions. Just dive in and let it gently steal through you. There’s a Who and Why regarding a hit-and-run that resulted in death, which is the ballast of the plot, at least in a pressing sense. The other characters are immediate family or characters connected to the family or incident in some way. “What a fragile thing a heart was. So easy to fool. To break. To stop on impact in a darkened intersection.â€Moroccan-born Driss Guerraoui, a husband, father, and grandfather, is a diner owner in a small Mojave desert community. He’s also the victim of the hit-and-run, while walking to his car from work one evening. His two adult daughters and wife, Maryam, grieve in separate ways, often rupturing old wounds and inciting new ones. An undocumented worker, EfraÃn, witnessed the incident but is afraid to come forward.The primary protagonist, however, is Nora, Driss’ youngest (and favorite) daughter and the non-conformist of the two. She’s a jazz pianist and performer with more rejection notices than work; her mother pointedly and wearily saying “She has her head in the clouds,†a tired refrain to her daughter. Nora refuses to settle for a pragmatic, secure job, like her sister, the dentist. It was only her father that understood this, which makes his death even harder to bear.Returning to the Mojave for the funeral, feeling unmoored and paralyzed by her father’s death, Nora stays longer and begins a romance with a past schoolmate, Jeremy, an Iraqi war veteran-turned-cop, also a central character. They are very different people with allied needs, but Nora has difficulty trusting due to past struggles. The story highlights several ugly stereotypes without condescending to the reader. Driss, for example, is highly educated and an atheist, but is often referred to by others as “the Muslim.†Nora has been stymied and bullied by others since childhood, and finds solace in her music.Told in first-person POV, the various characters alternate with their own or overlapping stories. The theme is home, identity, and loss, and the title suggests the outliers, the outsiders, the “other†Americans. But a sharp pivot shattered me, also, that turns the title inside out and upside down—and that is all I will say. I read this in two days; the pages turn easily and the prose is strong and vivid. Lalami is superb at providing the fine points of a scene, the flourish of details that happen simultaneously, like the sound of keys jingling or a cat turning its head, all the while bolstering the scene at hand. It all hits hard and deep by the end. I'm in awe of her sympathy for all characters.
This book was fine. It didn't live up to the praise I had read, but it was still a good, solid book. It is the story of a hit and run against a Moroccan-American man and his daughter trying to come to grips with his death, her relationship to her mother, sister and the town she grew up in. It is written in the first person with each chapter a different POV. The POVs vary, Nora (one of the victim's daughter) and Jeremy (a high school friend and love interest) are the main characters with the most POV chapters. Other chapters include POVs from the victim, Driss (flashbacks obviously), Maryam (Nora's Mom), Efraim (an undocumented immigrant who witnesses the hit and run), Anderson (the owner of the neighboring bowling alley) and Coleman (the detective working the case). There are a couple of one of POVs from Anderson's son AJ and Nora's sister Salma. The POVs jump around between the past and present day to flesh out the characters and develop the relationships, giving us insights into what made them the characters we see in the present day.The technique of varying POVs can be interesting in that you can see the same event from several angles, but it's not my favorite form of storytelling, which could be why the book left me a little cold. It just seems like a lazy way to write, honestly. (That's totally my personal opinion. YMMV, of course.) It really took me awhile to get into this book, and I think the POV structure was part of it. In this particular book, I thought it jumped around too much and would throw in people just once (Nora's sister) and I wish we had seen more of them. The reader just gets a snippet of "Oh I guess her life is not peaches and cream after all" (which is how it appeared to Nora). But, like, it wasn't surprising that the sister's life wasn't picture perfect. Throwing in the POV helped flesh it out more, but then we don't hear from here again and we are left hanging. Similarly with Efrain, we see him a lot in the beginning and his struggles in not wanting to go to the police as a witness (as he is undocumented). We don't really learn much about him but when he finally does go to the police, we never hear from him again. I thought the author did a decent job of creating interesting characters and making me interested in them, but the plot was pretty predictable (granted I did not guess who the driver was correctly the first time). The love story was pretty standard. The murder mystery okay. It's basically "girl goes back to home town and finds herself" with a love interest from back in high school. For a second I thought this book was actually different in that it seemed like it was going to end leaving several loose threads (the hit and run "solved" but unsatisfactorily), the romance done, and the main character returning back to her life from before her father's death. But then it turns pretty predictable in, like, the last two chapters.There is an undercurrent (and sometimes, just plain current) of political commentary through the book on the Iraq War (bad), racism in small town America (definitely exists), and the difficulty of PTSD on returning vets. I liked these parts of the book more than the actual plot, honestly. Lalaimi is a very good writer. Her prose is descriptive, her characters well drawn, if not particularly original, "the rebel artistic child disappointing her Mom, but is she really disappointing her mom or is it just a failure to communicate?" type deal.Overall, I liked it. It was good, not great. A solid book.
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