Every author has a story beyond the one that they put down on paper. The Barnes & Noble Podcast goes between the lines with today’s most interesting writers, exploring what inspires them, what confounds them, and what they were thinking when they wrote the books we’re talking about.

An American Marriage is Tayari Jones’s extraordinary fourth novel, a page-turning love story with a powerful political undercurrent. It’s as much a novel about family and race, expectation and desire, loneliness and loyalty as it is a story about how readily the American Dream can be derailed on the basis of skin color.  The writer of one of the season’s most keenly anticipated new books joins Miwa Messer in the studio to talk about writing a story that’s page-turning and thought-provoking in equal measure.

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The author of Silver Sparrow returns with a stunning novel about race, loyalty, and love that endures.

Newlyweds Celestial and Roy are the embodiment of both the American Dream and the New South. He is a young executive, and she is an artist on the brink of an exciting career. But as they settle into the routine of their life together, they are ripped apart by circumstances neither could have imagined. Roy is arrested and sentenced to twelve years for a crime Celestial knows he didn’t commit. Though fiercely independent, Celestial finds herself bereft and unmoored, taking comfort in Andre, her childhood friend, and best man at their wedding. As Roy’s time in prison passes, she is unable to hold on to the love that has been her center. After five years, Roy’s conviction is suddenly overturned, and he returns to Atlanta ready to resume their life together.

This stirring love story is a profoundly insightful look into the hearts and minds of three people who are at once bound and separated by forces beyond their control. An American Marriage is a masterpiece of storytelling, an intimate look deep into the souls of people who must reckon with the past while moving forward–with hope and pain–into the future.

See more books by Tayari Jones.

Like this podcast? Subscribe on iTunes or Stitcher to discover intriguing new conversations every week.

Author photo of Tayari Jones (c) Nina Subin

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Hall of Small Mammals, Thomas Pierce’s 2014 debut story collection, was roundly acclaimed as heralding the arrival of that not-quite unicorn, the “extraordinary new talent.” His first novel now makes Pierce an actual rarity: the author who fulfills an improbably frequent forecast with room to spare. The Afterlives is a nearly perfect embodiment of the ways paradox constitutes the most compelling art. The novel sparks with matchstrikes of humor and stares down sober questions. It is a romance and a speculative fiction and a philosophical inquiry. It’s also a delight to inhabit, a literary structure so cleverly wrought you search in vain for signs of the epic labor that had to have gone into its sills and stairs.

Once having entered, one is loath to leave its fascinating space. The book’s longueurs are few and, well, short. The immediacy of first-person narration draws the reader into the initially normal life of one Jim Byrd, a commercial loan officer who at the biblically meaningful age of thirty-three suffers cardiac arrest. That he saw nothing during his visit to death, not even the apocryphal long hallway ending in dazzling white light, causes him to variously ponder if he’s missing a soul or if there is in fact no afterlife. (He ends up wrong on one count, if not both.) The novel is constructed as a postulation, winding its way along a double helix of narratives stretching from past lives to future society. Each step brings the reader to a turn affording double views. We look both forward and back on the lives of Jim and his wife, Annie, who — appropriate to Pierce’s intricate rubric of uncanniness — was his girlfriend in an earlier period. Jim could never have foreseen meeting her again, much less marrying. There’s a lot in these pages that can’t be foreseen. And as much that can.

Which is the point of The Afterlives. Life is very much like the experience of reading this novel. Or is it the other way around? Jim muses, “I was here and then I wasn’t” in the type of line that is easily passed over — the author’s easy style propels us ever on to the next event — but that on second read often bears heavy freight: a wide stare into the vertiginous abyss. On one level Jim is referring to his medical mishap. On another he is describing the doleful mystery of life itself. He will come to find himself wandering in that half-dark land Shakespeare wrote into being with Hamlet.

“Fear and wonder just about sums it up for me these days,” he remarks to Annie, echoing Horatio upon seeing the king’s ghost. Things always do get strange after one glimpses the other side. He goes on:

Everything feels inverted, turned around. At this very moment, a thousand satellites are circling the earth, and the government can use them to zoom all the way down to our arm hairs if they’re in the mood, and yet an entire airplane drops from the sky, and we can’t ever locate it again. People pay hundreds of dollars for a blanket that tells you the temperatures under the covers and above. Viral eye-dyes. Condoms that glow green when they detect STDs. Pills that cure baldness but make you limp. Pills that make you stiff but make you lose your hair. So why not ghosts? is my question. Why not the voice of a dead woman on a CD that sounds like a broken vacuum cleaner?

And this is just the beginning of the fearful wonders encountered by our hero. Try subatomic “daisy” particles that continually move between the realms of being and not-being. (These previously appeared in a story in Hall of Small Mammals, so as a returning literary device they manifest their own essential nature.) The plot itself is built expressly for the purpose of carrying a doubled load: the story is also about the nature of stories; the book is about reading this book. A doctor tells Jim, “I wouldn’t read too much into it,” an otherwise throwaway comment that here suggests the only logical approach to the half-constructed stories of our lives. It also comprises the sole instruction for what to do with the object we hold in our hand at that moment.

Jim and Annie’s tales — along with those of physicist Sally Zinker, in Jim Byrd’s terse appraisal “a conspiracy website given skin and bones,” and parishioners at the creepy Church of Search — are intercut with a more haunting history. Pierce’s book is meticulously structured as the proof of its own supposition: the past runs concurrently with the present, and in the pauses between frames we might see some of the unnumbered movies playing beneath this one.

Pierce’s novel maintains an exquisite gyroscopic balance between sentiment and idea, postmodern self-referentiality and science fiction’s nostalgia, gee-whiz plot points and elemental human cares. Its overarching subject is that classic of the contemporary age, towering anxiety. Worries large and small are the threads that comprise its complex tapestry. Who is real and who is not? Is “fake” just as good as “real”? (Truth has become a mutable concept — who knew?) In the future, will death itself disappear? Are we truly as replaceable as humans have seemed increasingly to be? Am I replaceable in the affections of my beloved? In this story holograms loom large, of course.

Jim Byrd may wonder, “If I’m only a character in a story, then will I still exist after the story ends?” but Thomas Pierce offers at least one certainty. If you’re a character in a book called The Afterlives, the answer is yes. Very much yes.

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There must be two Americas: one that sets the captive free, and one that takes a once-captive’s new freedom away from him, and picks a quarrel with him with nothing to found it on; then kills him to get his land.

–Mark Twain (“To the Person Sitting in Darkness,” 1901)

The USS Maine exploded in Havana Harbor 120 years ago this month, killing 261 and kick-starting the Spanish-American War. The cause of the February 15, 1898 explosion was likely accidental, but those favoring increased American support for Cuba’s independence struggle against Spain were quick to capitalize. Their patriotic “Remember the Maine — to Hell with Spain!” rallying cry ramped up pressure on President McKinley to seek retribution, and within two months war was declared.

Twain was a leading member of the Anti-Imperialist League, an organization founded in June 1898 as the U.S. was sweeping to victory in a “splendid little war” (coined by Secretary of State John Hay) against Spain. The AIL interpreted American enthusiasm for the war as a violation of the nation’s founding principles and a dangerous precedent. After the U.S. took over from Spain in Guam and Puerto Rico and then chose to rule the Philippines rather than promote self-government there, the AIL felt that their worst fears had been realized. Twain’s “To the Person Sitting in Darkness” pamphlet was perhaps his most famous attack on what he regarded as burgeoning imperialism and, given the Emancipation Proclamation just a half century earlier, shameless hypocrisy.

In The True Flag: Theodore Roosevelt, Mark Twain, and the Birth of American Empire, Stephen Kinzer describes the Spanish-American War as a watershed moment for the U.S. and the world. The opportunity to dominate faraway lands plunged the nation into the farthest-reaching and longest-running debate in American history, says Kinzer, the two sides representing “matched halves of the divided American soul.” Fanned by the fake news of the day, the inflammatory “yellow journalism” practiced by the competing Pulitzer and Hearst news empires, the debate polarized Main Street America and reached fistfight levels in Congress. As assistant secretary of the Navy under McKinley, Roosevelt aggressively promoted U.S. involvement in the war, then resigned in July in order to lead his volunteer Rough Riders into battle — this iconic story told in Mark Lee Gardner’s recent Rough Riders: Theodore Roosevelt, His Cowboy Regiment, and the Immortal Charge Up San Juan Hill. Roosevelt continued to promote his “Speak softly and carry a big stick” approach to foreign policy while vice president under McKinley in 1901; when he took over after McKinley’s assassination, Twain was a relentless adversary of the new president’s policies and his blustering, “bully pulpit” style: “Mr. Roosevelt is the Tom Sawyer of the political world of the twentieth century; always showing off; always hunting for a chance to show off; in his frenzied imagination the Great Republic is a vast Barnum circus with him for a clown and the whole world for audience . . . ”

In his new biography, President McKinley: Architect of the American Century, Robert W. Merry argues that the rise of the U.S. to world power status owes less to Roosevelt’s bluster than it does to McKinley’s quiet competence. Merry portrays McKinley as a conscientious worker, a details man, an effective administrator-in-chief running a White House that “never questioned whose hand was on the tiller of the national destiny or whose judgment would prevail as government officials grappled with the challenge of molding unfolding events into American greatness.” Moreover, says Merry, just as the Spanish-American War offers us lessons today about American imperialism, so the contrast between McKinley and Roosevelt offers us a chance to reflect about leadership. McKinley’s quiet, methodical personality and style have earned him a place well down the list of important presidents, while Roosevelt’s personality — “impetuous, voluble, amusing, grandiose, prone to marking his territory with political defiance” — has earned him a place near the top. Put differently, over “the American century” the nation has developed not only a taste for imperialist politics but imperial style:

We have come to regard true presidential greatness as consisting of boldness, brashness, directness, and flamboyance. It is difficult for many in the television era to see anything approaching greatness in a man lacking those traits, a man whose leadership was more of the hidden hand variety.

 

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Long before they had mutated into those digital, immoderately powerful, GPS-fueled tracking devices that we all carry around in our back pocket, the telephone possessed a remarkable power to limn our hopes and fears. In the realm of cinema alone there was Hitchcock’s ’50s horror classic Dial M for Murder, the early-’70s phone-surveillance thriller The Conversation, and the ’90s Scream franchise, not to mention all of the bizarre phone calls in David Lynch’s films, and also The Matrix, which turns it into a conduit between competing human realities. In the literary realm we might briefly recall Philip K. Dick’s famous line — “There will come a time when it isn’t ‘They’re spying on me through my phone’ anymore. Eventually, it will be ‘My phone is spying on me’ ” — which now seems to have eerily foreshadowed the bouts of phone hysteria we regularly experience whenever there’s a new story about mass government surveillance, Russian hackers, or the unsettling experience of your phone showing you an ad for a product you were just talking about with your friend.

So it’s hardly a surprise that the British author Will Self, whose work has long displayed its affiliation with such giants of techno-modernism as J. G. Ballard, William Burroughs, and Franz Kafka, would get around to tackling this ubiquitous element of post-industrial technology. His new novel, simply titled Phone, is the much-heralded conclusion to his so-called neo-modernist trilogy, following 2012’s Umbrella and 2014’s Shark.

This 600-page, single-paragraph stream-of-ranting begins with some of this reviewer’s favorite writing of the entire novel, a dozen pages of impressionistic, only fleetingly connected phrasal riffs, each separated by a mysterious ” . . . . !” It later becomes evident that this is, apparently, the mind of Self’s recurring character Zachary Busner in the midst of an Alzheimer’s-inflicted episode of senility. When Busner comes to, we (and he) realize that he wears only a blazer and has his genitals laid out on the buffet of a swank hotel. As security begins its inevitable task of apprehending and escorting him off the premises, Self does a rather beautiful job of sketching in the details of precisely who Busner is, how he came to be here, and where he’s headed next.

 

Busner, we learn, is the aging patriarch of a sprawling family, as well as a wealthy, if somewhat eccentric innovator in the field of psychiatry (a role that Self has explored in several of Busner’s prior appearances in his work). This early stretch features some of Phone‘s most affecting and penetrating writing: Busner’s dismay and embarrassment as he discovers what Alzheimer’s has made of him (for starters, he and the security men discover that his hotel room is smeared with his own feces); Busner’s loneliness amid his bickering family, who have long since grown disconnected from and impatient with their odd and increasingly disruptive patriarch; and his own fears about his impending mortality and doubts about what he has done with his life.

It’s all rather rich and full of potential, but then, out of nowhere and without even so much as a paragraph break, we are rocketed into a parallel life — that of the aptly named Jonathan De’Ath, a.k.a. the Butcher, a closeted British MI6 agent who, among other strange affectations, endearingly carries on a running conversation with his lisping penis, whom he’s named Squilly. When we catch up with him, the Butcher is setting out to quarry a gorgeous, somewhat naïve member of the armed forces, ostensibly straight but in whom the Butcher senses a definite kink. Self rather gleefully narrates De’Ath’s militarily precise, boa constrictor–tight operation.

At this point the Butcher and his new lover, the somewhat excessively named Gawain, become Phone‘s core, as Self opens up their world while exploring their passionate, and completely secret, relationship. De’Ath is an entertaining, if absurdly macho and generally juvenile mind to hang around with, and through his involvement in every government conspiracy this side of Margaret Thatcher, Self takes the opportunity to traipse through many of the signal events of post-1989 world history. De’Ath’s back-story — involving his homophobic parents and the challenges of being closeted while pursuing a military and espionage career– is intriguing enough, but it lacks the urgency and emotional depth of Busner’s story.

 

Worse, it never feels as though the Butcher is going anywhere. Although Self grants De’Ath an almost unbelievably privileged position (at one point Tony Blair makes a cameo and sucks up to the Butcher about his tailored shirt), his thoughts about society are generally uninteresting. In essence, anyone who isn’t as brilliant and as macho as he is gets dismissed as a “sheeple,” and his reflections on ethics and morality tend to manifest around briefly celebrating his lost innocence, before thanking God that he’s eliminated his sentimental attachment to the perfectibility of man. But perhaps the biggest disappointment is Self’s failure to delve into the Butcher’s much-bandied “data set” — apparently the Butcher’s genetically abnormal, encyclopedic, and drug-addled mind has the ability to crunch an impossibly immense array of sociopolitical information to divine secret truths about the world, but we never learn more about this remarkable capacity or its implications.

All throughout the escapades of Busner and De’Ath, Self shows a thoroughly modernistic lack of interest in developing his plot — there are sizable chunks of back-story, and absolute deluges of raw information, but neither are caught up in anything close to a compelling narrative fix. Self does get some mileage out of the Butcher’s guilty vacillations over coming out, and he draws some interesting parallels between the clandestine lives of spies and those of closeted gay men, but it never feels like very much to hang your hat on, certainly not enough to propel one through hundreds of densely packed pages.

And then there’s Camilla, who feels a little bit like an afterthought that somebody forced Self to toss in. Daughter-in-law to Busner, mother of an autistic son, wife to a schizophrenic husband, she’s the book’s only real female presence. It must be said that rarely is absolute human misery so completely evoked in a work of fiction as it is during Camilla’s brief appearance in Phone. That’s no small achievement, but it also relegates Camilla to stoically enduring everything from her child’s stony distance to condescending doctors to menstrual cramps. One can’t help but notice the short shrift and relative lack of agency that Self grants her, particularly when Busner and the Butcher merrily go about their maximalist masculine mischief with such enviable freedom.

 

A lack of plot need not be an impediment to the success of a novel — see Joyce, Woolf, Beckett, Bernhard, etc., etc. — but something has to develop over the course of a work, or else one has stasis, and this is an issue with Phone. As the images and quips pile up, one is alternatively wowed by the author’s linguistic virtuosity and increasingly desperate for something in this cathedral of cleverness to spring into life. At length, the feeling of being inside of this book comes to resemble being forced to listen to one gargantuan hip-hop freestyle: the sheer tonnage of puns, coinages, one-liners, jargon, and alliteration is undeniably impressive — and for a while entertaining — but eventually one succumbs to dullness: the rhythms never change, the tone is ever posted at a fever pitch, and it more and more feels that less and less is at stake.

This stylistic excess would be more forgivable if Phone didn’t feel like a novel fruitlessly in search of ideas. Everything from the last quarter century that you could ever want is here, from the second Iraq war and the Balkan conflagration to autism (cue references to the MMR vaccine hysteria), terrorism, the evolution of queer culture, the rise of the Internet, and, of course, the massive revolution in telecommunications. All of these things, plus about 100 more — not to mention plenty of allusions to heroes of literary modernism — are carefully woven into Self’s furious flow of data. Self seems to be fascinated by the way that our increasingly technological civilization has granted outliers — be they geniuses, drug junkies, suffers of autism, or just long-tail bloggers with bizarre theories about the world — greater and greater inroads to society at large, but it all never collects into anything more than snapshots of various eras (which, for what it’s worth, are quite gorgeously done). One reads through this novel titled Phone and littered with communication devices of every kind — from humble tin cans tied with string to high- and low-tech spy devices to the newest, most powerful iPhone — without coming away with anything close to a new way of seeing the glowing tablets we’re now trying not to be addicted to, or the web of connections that gives them their increasing power.

The result is an energetic ride that offers a lot of fun and erudition — probably for many readers that will be enough. Phone presents a thoroughly domesticated, tamed version of modernism, akin to some enormous, armor-plated rhinoceros that’s been so subdued by the forces of civilization that you can walk right up to it and hop on its back. Taming such a creature might well be admired as a feat: but it leaves us wanting a confrontation with something wilder.

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