“All novels lack something or someone. In this novel there’s no one. No one except a ghost that I used to see sometimes in the subway.”
Faces in the Crowd, the debut novel from the young Mexican novelist Valeria Luiselli, is indeed a book of ghosts. The narrator is a young wife and mother living in Mexico City. As she tries to carve out time and space to write a novel, she draws the reader into a reflective exploration of ghosts – the ghosts that haunt her present house, the ghost of a life she fell into living and working in New York City, and the ghost of Gilberto Owen, an obscure Latin American poet who lived in Harlem in the late 1920s.
And for a book of ghosts it is brilliantly, shockingly alive.
The novel opens with a deceptively simple narrative feel. Contemporary domestic life is played out against her reflections on her past life in New York City when she was younger, unencumbered and working as a translator for a small independent publisher. She catalogues the friends and lovers that drifted through her spare apartment. One day she happens to encounter the work of Gilberto Owen on a search for potential material for translation, but before long her professional interest turns into an obsession. She tries to pass off her translations of his work as translations by a better known poet, an attempt that comes dangerously close to succeeding. She rescues a dead plant from the roof of the building he once lived in. She imagines that she sees him in the subway – more than once. Finally it is clear to her that she must leave:
“In the subway, on my way home, I saw Owen for the last time. I believe he waved to me. But by then it did not matter, I’d lost my enthusiasm. Something had broken. the ghost, it was obvious, was me.”
For all the empty space in her earlier life, married life is clearly suffocating our narrator. She continually finds herself unable to breathe, struggling to focus on her writing in a large house, cluttered with toys, distracted by the demands of her children – simply referred to as “the boy” and “the baby” – and the jealous curiosity of her architect husband. As the fictionalized first person account of Owen’s life begins to assume a greater prominence within the story, her marriage starts to unravel (or perhaps she simply writes her husband into the background) while the overall narrative structure seems to disintegrate, boundaries blur. The novel within the novel becomes enmeshed with her day-to-day life, folding back on and re-envisioning the experiences recounted from her earlier life in New York. Or was that Owen’s life?
Echoing the continually reshaped game of hide and seek between mother and son running throughout this novel, Faces in the Crowd lays out a metafictional game of hide and seek. Can a horizontal novel be told vertically? How is such a story to be read? Where in translation does truth lie? And when can you play with truth? It winds up to a delightfully oblique ending. Or lack of ending – rather, an invitation to imagine, to reread.
I opened this book completely unprepared for the heart-stopping luminosity of the prose or the way that the narrative is fragmented and rebuilt to create a rich meditation on the nature of story telling. Valeria Luiselli demonstrates a maturity and confidence that belies her age without ever falling into a heavily somber tone. The translation by Christina MacSweeney maintains the lively, poetic flow of this impressive debut. I was pleasantly surprised by this intelligent and enjoyable read.
Faces in the Crowd has been longlisted for the 2015 Best Translated Book Award (BTBA).
Faces in the Crowd by Valeria Luiselli, translated by Christina MacSweeney Coffee House Press, 2014