The City & the City (Hugo Award, BSFA Award, Clarke Award, & World Fantasy Award winner)

The City & the City is a fiction novel by British author China Miéville (1972- ) published in 2009 and won the 2010 Hugo Award for Best Novel, the 2010 BSFA Award for Best Novel of 2009, the 2010 Arthur C. Clarke Award, and the 2010 World Fantasy Award for Best Novel.

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The City & The City

The City & The City takes place in the cities of Besźel and Ul Qoma. These two cities actually occupy much of the same geographical space, but via the volition of their citizens (and the threat of the secret power known as Breach), they are perceived as two different cities. A denizen of one city must dutifully 'unsee' (that is, ignore, or fade into the background) the denizens, buildings, and events taking place in the other city — even if they are an inch away. This separation is emphasized by the style of clothing, architecture, gait, and the way denizens of each city generally carry themselves. Residents of the cities are taught from childhood to recognise things belonging to the other city without actually seeing them. Ignoring the separation, even by accident, is called "breaching" - a terrible crime by the citizens of the two cities, worse than murder.

The twin cities are composed of crosshatched, alter, and total areas. "Total"' areas are entirely in one city, the city in which the observer currently resides. "Alter" areas are completely in the other city, and so must be completely avoided and ignored. Between these are areas of "crosshatch". These might be streets, parks or squares where denizens of both cities walk alongside one another, albeit unseen. Areas that exist in both cities usually go under different names in each one. There is also Copula Hall, "one of the very few" buildings which exists in both cities under the same name. Rather than being cross-hatched, it essentially functions as a border. It is the only way in which one can legally and officially pass from one city to another. Passing through the border passage takes travellers, geographically (or "grosstopically"), to the exact place they started from — only in a different city.

From a physical standpoint, little differentiates the two cities, other than slight differences of architecture, vehicles and styles of dress which citizens and visitors are trained to recognise. Those who do not know about the separation might naturally view the two cities as one. Because of this, an extra power is needed to keep the separation in place: this organisation is known as Breach. When a 'breach' takes place (used here in the sense of 'breaching' the barrier between the two cities), Breach comes to take care of it. Members of the Breach organisation use their powers to take the breacher captive, and bring them to an unknown punishment. "Breachers", as they are called, disappear and are never seen again. Children and tourists, however, are treated more leniently: children may be forgiven for a small breach; if tourists breach, they are bundled out and banned from both cities forever.

Most breaches are taken care of by Breach immediately, but its surveillance capabilities are not absolute. Sometimes Breach must be specifically invoked to investigate a crime that seems to be a clear-cut case of breach, such as a smuggling operation that involves breaching in order to transport the smuggled goods from one city to the other. In order to invoke Breach, the police must present their evidence to an Oversight Committee composed of 42 members, 21 from each city. If the evidence presented is convincing enough, the Committee performs whatever other investigation into the matter it deems appropriate to resolve any remaining doubts its members have. If its investigation concludes to its satisfaction that a breach has taken place, then and only then will it invoke Breach. Invoking Breach is a last resort because it is an alien power to which some consider that Besźel and Ul Qoma surrender their sovereignty at their peril. [1]

[1] Wikipedia.org: The City & the City

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The Kite Runner (Boeke Prize winner, the first 2005 best seller in US, ...)

The Kite Runner is a novel by Afghan-born American novelist and physician Khaled Hosseini (1965- ); published in 2003 and won the Boeke Prize in 2004. It was the first 2005 best seller in the United States [1].

Plot Summary [2]

Part I

Amir, a well-to-do Pashtun boy, and Hassan, a Hazara who is the son of Ali, Amir's father's servant, spend their days in the then peaceful city of Kabul, kite fighting and roaming through the streets. Amir’s father, a wealthy merchant, who Amir affectionately refers to as Baba, loves both the boys, but seems critical of Amir for not being manly enough. Amir secretly believes his father blames him for his mother’s death during childbirth. However, he has a kinder father figure in the form of Rahim Khan, Baba’s friend, who understands Amir better, and is supportive of his interest in writing. Amir tells us that his first word was 'Baba' and Hassan's "Amir,' suggesting that Amir looked up most to Baba, while Hassan looked up to Amir.

Assef, a notorious sociopath and violent older boy with sadistic tendencies, mocks Amir for socializing with a Hazara, which is, according to Assef, an inferior race that should only live in Hazarajat. He prepares to attack Amir with brass knuckles, but Hassan bravely stands up to him, threatening to shoot out Assef's left eye with his slingshot. Assef and his posse back off, but Assef threatens revenge.

Hassan is a successful "kite runner" for Amir, knowing where the kite will land without even watching it. One triumphant day, Amir wins the local tournament, and finally Baba's praise. Hassan runs for the last cut kite, a great trophy, saying to Amir, "For you, a thousand times over." Unfortunately, Hassan runs into Assef and his two friends. Hassan refuses to give up Amir's kite. Amir searches for Hassan but hides when he hears Assef's voice. Assef decides to teach Hassan a lesson by raping him. Amir witnesses the act but is too scared to intervene, and returns home ashamed, guilty for not being able to help his best friend. He feels that his cowardice in Hassan's rape would destroy any hopes for Baba's affections, so he says nothing. Afterwards, Hassan and Amir keep a distance from each other. Amir reacts indifferently because he feels ashamed, and is frustrated by Hassan's saint-like behavior. Already jealous of Baba's love for Hassan, he worries that if Baba knew of Hassan's bravery and his own cowardice, that Baba's love for Hassan would grow even more.

Amir, filled with guilt on his birthday, cannot enjoy his gifts. The only present that does not feel like "blood" money is the notebook to write his stories in given to him by Rahim Khan, his father's friend and the only one Amir felt really understood him.

Amir felt that life would be easier if Hassan was not around, so he planted a watch and some money from his birthday party under Hassan's mattress in hopes that Baba would force him to leave; Hassan falsely confesses when confronted by Baba about the watch and the money. Baba forgives him, despite the fact that, as he explained earlier, he believes that "there is no act more wretched than stealing." Hassan and his father Ali, to Baba's extreme sorrow, leave anyway. Hassan's departure frees Amir of the daily reminder of his cowardice and betrayal, but he still lives in their shadow and his guilt.

Part II

Five years later, the Soviet Union invade Afghanistan. Amir and Baba escape to Peshawar, Pakistan and then to Fremont, California, where Amir and Baba, who lived in luxury in an expensive mansion in Afghanistan, settle in a run-down apartment and Baba begins work at a gas station. Amir eventually takes classes at a local community college to develop his writing skills after graduating from high school at age twenty. Every Sunday, Baba and Amir make extra money selling used goods at a flea market in San Jose. There, Amir meets fellow refugee Soraya Taheri and her family. Soraya's father, General Taheri, once a high-ranking officer in Afghanistan, has contempt for Amir's literary aspiration. Baba is diagnosed with terminal small cell carcinoma but is still capable of granting Amir one last favor: he asks Soraya's father's permission for Amir to marry her. He agrees and the two marry. Shortly thereafter Baba dies. Amir and Soraya settle down in a happy marriage, but to their sorrow learn that they cannot have children.

Amir embarks on a successful career as a novelist. Fifteen years after his wedding, Amir receives a call from Rahim Khan, who is dying from an illness. Rahim Khan asks Amir to come to Peshawar, Pakistan. He enigmatically tells Amir, "There is a way to be good again." Amir goes.

Part III

From Khan, Amir learns the fates of Ali and Hassan. Ali was killed by a land mine. Hassan had a wife named Farzana and a son who he named Sohrab. He had set up a life for himself in a village outside Bamiyan, but returned to Baba’s house as a caretaker at Khan’s request, although he moved to the little hut in the yard so as not to dishonor Amir by taking his place in the house. During his stay, his mother Sanaubar returned after a long search for her son, and died after four years. One month after Khan left for Pakistan, the Taliban ordered Hassan to give up the house and leave, but he refused, and was executed, along with Farzana. Khan reveals that Ali was not really Hassan's father, and that Ali was sterile, and that Hassan was actually the son of Baba, and therefore Amir's half-brother. Finally, Rahim Khan tells Amir that the true reason he has called Amir to Pakistan is to go to Kabul to rescue Hassan's son, Sohrab, from an orphanage.

Khan asks Amir to bring Sohrab to Thomas and Betty Caldwell, who own an orphanage. Amir becomes furious; he feels cheated because he had not known that Hassan was his half-brother. Amir finally relents and decides to go to Kabul to get Sohrab. He storms out of the house in a rage, but later returns and tells Khan will go find Sohrab. He travels in a taxi with an Afghan driver named Farid, a veteran of the war with the Soviets, and stays as a guest at Farid's brother Wahid's house. Farid, initially hostile to Amir, is sympathetic when he hears of Amir's true reason for returning, and offers to accompany him on his journey.

Amir searches for Sohrab at the orphanage. In order to enter Taliban territory, Amir, who is normally clean shaven, wears a fake beard and moustache, to avoid the punishment the Taliban would otherwise deliver. However, Sohrab is not where he was supposed to be: the director of the orphanage tells them that a Taliban official comes often, brings cash, and usually takes a girl back with him. Once in a while however, he takes a boy, recently Sohrab. The director tells Amir to go to a soccer match, where he could see the procurer making speeches at half-time and wearing black sunglasses. Farid manages to secure an appointment with the speaker at his home, by saying that he and Amir have "personal business" with him.

At the house, Amir meets the man, who turns out to be Assef. Assef is aware of Amir's identity from the very beginning, but Amir doesn't recognise his childhood nemesis until Assef starts asking about Ali, Baba, and Hassan. Sohrab is being kept at Assef's home where he is made to dance dressed in women's clothes, and it seems Assef might have been raping him. (Sohrab later confirms this saying, "I'm so dirty and full of sin. The bad man and the other two did things to me.") Assef agrees to relinquish him, but only for a price—cruelly beating Amir. However, Amir is saved when Sohrab uses his slingshot to shoot out Assef's left eye, fulfilling Hassan's threat made many years before.

While at a hospital treating his injuries, Amir asks Farid to find information about Thomas and Betty Caldwell. When Farid returns, he tells Amir that the American couple do not exist.

Amir tells Sohrab of his plans to take him back to America and possibly adopt him, and promises that he will never be sent to an orphanage again. However, US authorities demand, among other things, paperwork as evidence of Sohrab's orphan status. After decades of war, this is all but impossible to get in Afghanistan where, as Amir says, many dead have no certificate just as they had never had a birth certificate. Amir tells Sohrab that he may have to temporarily break his promise until the paperwork is completed. Upon hearing this, Sohrab attempts suicide. Amir eventually manages to take him back to the United States without an orphanage, and introduces him to his wife. However, Sohrab is emotionally damaged and refuses to speak or even glance at Soraya. This continues until his frozen emotions thaw when Amir reminisces about Hassan and kites. Amir shows off some of Hassan’s tricks, and Sohrab begins to interact with Amir again. In the end Sohrab only shows a lopsided smile, but Amir takes to it with all his heart as he runs the kite for Sohrab, saying, "For you, a thousand times over."

Adaptation

The Kite Runner was adapted into a film of the same name directed by Marc Forster in 2007.

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[1] "Harry Potter tops US best-seller list for 2005". ninemsn.com.au. 2006-01-07.
[2] Wikipedia.org: The Kite Runner

Diary of a Bad Year is a novel by Australian citizen, South African-born author J. M. Coetzee (1940- ) who won the Nobel Prize for Literature in 2003 and is one of  the two writers to win the Booker Prize twice. It was published in 2007 and nominated for New South Wales Premier's Literary Awards, The Age Book of the Year Award, Victorian Premier's Literary Award, Queensland Premier's Literary Awards, and Australia-Asia Literary Award, all in 2008.

Diary of a Bad Year

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Plot Summary [1]

The protagonist, called Señor C. by the other characters, is an aging South African writer living in Sydney. The novel consists of his essays and musings alongside diary entries by both Señor C. and Anya, a neighbor whom he has hired as a typist. The essays, which take up the larger part of each page, are on wide-ranging topics, including the politics of George W. Bush, Tony Blair, Guantanamo Bay, and terrorism. The diary entries appear beneath the essays and describe the relationship that develops between the two characters, a relationship that ultimately leads to subtle evolutions in both their worldviews.

From The Washington Post [2]

J.M. Coetzee is a great novelist, perhaps the greatest writing today, and has garnered just about every important prize awarded for fiction written in English, including the Nobel Prize for Literature. By common consent his most powerful work is Disgrace, published in 1999, in form an old fashioned realistic novel that one can readily imagine having been written by Dostoevsky, Coetzee's acknowledged master, if the terrifying event at the center of its plot -- the gang rape of a young lesbian in the South African bush -- were transposed to Russia during one of its periods of violence and chaos. Coetzee's previous novels, Waiting for the Barbarians (1980), Age of Iron (1990) and The Master of Petersburg (1994) among them, are likewise in the realist tradition. They are stories plausible enough for the reader to accept them as true. To quote the protagonist of Coetzee's new novel, Diary of a Bad Year, such stories "tell themselves, they don't get told." The author doesn't intrude in the space between the version of reality he has created and the reader, or otherwise take the risk of breaking the spell he has cast.

Since Disgrace, however, Coetzee has been engaged in a fascinating effort to bend the realist novel into a new medium. Diary of a Bad Year is the most recent example of that enterprise; the mesmerizing and beautiful novel Elizabeth Costello (2003) was the first. In the latter work Coetzee introduced an alter ego, a famous female writer, born in 1928, and the author of nine novels, a volume of poems, a book on birds and a body of journalism -- an oeuvre closely corresponding to Coetzee's. We see her deliver seven lectures. Among them: one on the novel, two on animal rights (these were in fact given by Coetzee at Princeton) and one on Eros as it affects men and gods. The last chapter is a retelling of the parable of the Law in Kafka's Trial.

Elizabeth Costello came back on stage, as though to take a bow, in an exquisite chapter-length sequel to the novel that appeared in 2005 in the New York Review of Books, and again, much more substantially, in the novel Slow Man, also published that year. There Costello literally moves in with the protagonist, a 60-something man by the name of Rayment, living alone in Adelaide, Australia. Rayment had never met Costello before, and she is not a welcome or easy guest. But she is obsessed with him, and the difficulty she faces is that he won't cooperate. He refuses to undertake anything that makes the protagonist of a novel photogenic, such as making love to the three women who are in all likelihood available or, for that matter, Costello herself. Slow Man -- with its slow protagonist -- can be seen as a novelist's interaction with the characters of a novel that is still a work in progress and may not turn out as had been intended.

The obduracy of invented characters can be very real. The novelist comes across them somewhere in the zone of imagination and, because of a mysterious affinity, invites them to come aboard. They do -- and misbehave. Coetzee's surrogate in Diary of a Bad Year is JC (two of Coetzee's initials), another very distinguished novelist but this time originally South African, laden with honors, born in 1934 (Coetzee was born in 1940), and now living in Sydney (Coetzee, like Rayment, lives in Adelaide). Asked why he isn't writing a novel instead of the string of little essays to be published in Germany as "Strong Opinions," JC answers, "I don't have the endurance any more. To write a novel you have to be like Atlas, holding up the whole world on your shoulders and supporting it there for months and years while its affairs work themselves out. It is too much for me as I am today."

JC and Coetzee may be protesting too much. Diary of a Bad Year is an ingenious work that rivets the reader's attention, and it cannot have been easy to write. The top third of each page is occupied by the essays that JC is writing for a German publisher.

The middle third of the page tells the story of JC's relationship with Anya, a Philippine-Australian beauty he meets in his building's basement laundry room. In the manner of old men who have loved women, he feels an immediate flash of desire, but, cagy and reasonable, he resists temptation. Instead of making a pass or venturing a proposition, he engages her to type the essays he dictates into a recording machine. Her secretarial skills aren't much, but she becomes his Segretaria, his Secret Aria, an echo of Humbert Humbert's string of endearing names for Lolita. When they discuss his work, she bosses him around, adding to his infatuation.

On the bottom third of each page appears a running commentary by Anya on JC and on her own live-in affair with Alan, and also Alan's comments to Anya on JC. Alan is an Australian yob who has worked his way to being a financial consultant; in his case that may mean he is a crook. He has planted spyware on the hard drive of JC's computer, which reports on everything JC confides to his computer, especially his finances. Alan's Thatcherite lucubrations are a counterpoint for JC's sometimes quirky and more often predictable worldview: JC distrusts democracy and deplores the decline of Australian political life, loathes George W. Bush, Cheney and Rumsfeld, feels shame descending upon him when he thinks of Guantanamo and Americans' use of torture. Alan, we soon learn, has concocted a larcenous scheme designed to get his hands on JC's money. Anya's response is somber and unequivocal: She will stand by her JC. More than that, she will be there to hold his hand and give him a kiss when the end comes, "just to remind him of what he is leaving behind."

So it turns out in the end that Coetzee has written a sometimes sentimental love story that plays out nicely to the legato accompaniment of his pronouncements, political and cultural, some of which hit the bull's eye while some come to the verge of pomposity. I said "his pronouncements," but of course they are JC's essays, which is a reminder that not everything in Coetzee's novel is as it seems. Except this: Lovely Anya has her heart in the right place, and JC is lucky enough to understand that. Is the experimental form the story took a success? I was amused and at the same time hoped that the marvelously inventive Mr. Coetzee will move beyond it.
Reviewed by Louis Begley
Copyright 2008, The Washington Post. All Rights Reserved.

[1] Wikipedia.org: Diary of a Bad Year
[2] Breaking the Fourth Wall, DIARY OF A BAD YEAR, by J.M. Coetzee, The Washington Post, 2008.

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