Wi2026: 'A Celebration of Fiction'
For the audience, the Wednesday morning breakfast, beautifully moderated by Audrey I-Wei Huang, a bookseller at Belmont Books, Belmont, Mass., felt like sitting in on a conversation in a bar or someone's living room. The event featured four wonderful writers--Min Jin Lee, Marlon James, Colson Whitehead, and Xochitl Gonzalez--who were by turns hilarious, thoughtful, charming. They received two standing ovations and plenty of laughter and applause.
One by one the quartet answered questions, touching on their past books and upcoming titles. The first question was a request for "a tidbit" about their latest book that booksellers could use to handsell the title.
Gonzalez, whose Last Night in Brooklyn (Flatiron Books, April 21) is set in 2007, said she wanted to capture "the feeling of being young and alive before we were recorded all the time" and what it was like "to live off the record." It's both for people who lived in that era as well as for younger people "to experience it" and maybe try to live in a way where "life is unwatched."
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| From left: Xochitl Gonzalez, Colson Whitehead, Marlon James, Min Jin Lee, and moderator Audrey I-Wei Huang | |
Gonzalez said she started a business at age 23 and ran it for a decade, until the financial crisis, a period when she felt "anything was possible... a powerful vibe to have amongst a community of people of color." She also emphasized that a key part of Last Night in Brooklyn was experiencing that time without knowing that the financial crisis was coming, which she compared with The Great Gatsby being written before the Great Depression.
Whitehead, whose Cool Machine (Doubleday, July 21) is set in the 1980s, noted that this is the third title in his Harlem Trilogy, featuring Ray Carney. "This is the first time I worked on something for seven or eight years [and] I was really occupied with sticking the landing. With a trilogy you don't want to go down at the end, you want to go higher and higher."
Whitehead said that for him, "time is a very structural element," and "I'm always trying to find a moment in New York City history that can animate the main character, Ray Carney."
James's The Disappearers (Riverhead, September 1), is set in the 1980s and '90s in Jamaica, and traces the effects of the murder of a gay man. He called the book "an experiment," in which he took things that happened in his life and gave them "to a character who's not like me... so it's kind of autobiographical but it really isn't."
Lee's American Hagwon (Cardinal, September 29) follows how the 1997 Asian financial crisis changes a Korean family. That crisis, she said, wrecked the lives of many people, with "many middle-class people losing their jobs," and even though it was "so far away, the modern Korean is walking around with the sense of economic humiliation and trauma." She wanted to highlight the effects of economic assaults on people, especially how they influence daily decisions.
Events are key among the ways these writers connect with readers. Gonzalez said she enjoys when people who don't know each other connect at her events because "they have this thing in common: they've read my book."
James noted that his tours in the U.K. don't usually take place at bookstores but at community centers, which adds to the audiences because sometimes people are attracted to a community event even if they don't know the author.
Lee said that she "keeps showing up" for events because many people assume she doesn't speak English and isn't American. So she's done "a thousand events"--but definitely doesn't want to do another thousand. She quoted her own advice to her students--"you can feel bad or do something"--and for her, "it's always about showing up."
James said that when he was "young and stupid," he wished that instead of being considered a Black writer, he would be seen as "simply a writer." Now he doesn't care so much about labels. Someone asked him if The Disappearers was "a gay book or a book with gay people." He responded, "I wrote a gay-ass book."
Whitehead complained about the media, which often stand "between the book and the reader." When traveling, he said, he often is interviewed by journalists who have "maybe two questions about the book," and then ask questions like "Is it true that black people sleep upside down like bats?"
In a similar vein, Gonzalez said, "I can't tell you how many times I've been put on a panel about immigration and immigrant writers." But her family aren't immigrants. Her mother's family is from Puerto Rico and her father's family is from south Texas. "America came to us," she said. "No one emigrated anywhere."
Gonzalez added that she doesn't feel offended to be considered a Latino writer, but doesn't like being seen as different from "an American writer." She's also delighted that in Europe, she's considered a feminist writer.
As for messages, Lee said, "I'm a real believer in the message. I have a real axe to grind. I'm pissed about so many things, and I'm not going to mention his name." For her, the challenge is to make her fiction a kind of Trojan horse with a message: "I want to fight in my own private, quiet way," hoping that her books will leave readers "deeply persuaded about something that I really, really care about." She aims to get the reader "to stay with me for 16 hours and want to hang out with the voice. Then you might agree or disagree with me, but at least we'll have a conversation."
James noted that he has written about slavery and people finding their own community and joy and strength. "But there's also anger about having to do that in the first place." He called The Disappearers, which features gay characters in a very homophobic country, "a message book." The message: "Stop hating us." --John Mutter















The Last Chapter Bookshop

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BookNet Canada examined what it called "

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Incredibly, The First Circle was wedged among the romance, thriller, mystery, self-help, and diet books. It would inspire me to read Solzhenitsyn's One Day in the Life of Ivan Denisovich and Cancer Ward. The chance discovery had a profound effect on my reading life. Thanks, Delfina.