Culture
Book Review: ‘Going Home,’ by Tom Lamont
GOING HOME, by Tom Lamont
Tom Lamont’s “Going Home” is an exceptionally touching novel in multiple ways. It’s a story of fathers and sons. Male friendship and all its many — and not often discussed — complications. Jewish community, culture and faith. What goes into raising a young boy, and tending to loved ones who are at the end of their days. The cruel trick the universe plays that brings us from child to adult to child again over the course of our lives.
At the core of this novel is the question “What does it mean to care?,” and it considers both senses of the word: to care for, and to care about, someone.
Lamont’s literary debut is set in the London suburb of Enfield, and is told largely from the alternating perspectives of four impeccably drawn characters. Téo Erskine, 30, has left Enfield for life in the big city, but dutifully returns once a month to visit his elderly father. His close childhood friend is Ben Mossam, whose parents moved abroad when he finished school, leaving him with a house and money but not many reasons to grow up. Téo’s well-enough-meaning father, Vic, does his best to hide his ailing health and wonders why providing for his family — despite being distant at times — isn’t sufficient to rate him as a good father. And the new progressive rabbi in town, Sibyl, is doing her best to win over a board of more traditional congregants while grappling with her own growing questions around faith.
Tying these characters together is 2-year-old Joel, one of the most charming children put to the page in recent memory. The novel carefully shows the way the child’s very existence changes each of the other characters’ lives, all while perfectly encapsulating the frustration, boredom, anxiety and tremendous bursts of tenderness that come from raising a young one, even when that young one is not your own.
After Joel’s mother, Lia — Téo’s unrequited love — dies by suicide, this all-ages group of lads, plus Sibyl the rabbi, earnestly try to watch over Joel in the wake of baffling tragedy. Can they make room in their lives for a toddler until social services can find Joel’s biological father or caring foster parents? Or will one of them end up caring for him permanently in Lia’s absence?
I’ll take a moment here to applaud Lamont’s human, heartfelt and nonjudgmental portrait of depression and suicide. Rabbi Sibyl doesn’t shy from addressing the manner of Lia’s death in her eulogy, saying that Lia had been failed in life by those who were slow to help. “She would be failed as much in death,” Sibyl adds, “were anybody to criticize her or blame her — ask, how could she? — without trying to understand that for Lia the question might have been, how could she not?”
With nights out, a football match, a trip to Scotland, poker games, pints and even a bit of pill-popping and subsequent street-puking, Lamont shows his talent for revealing the depth of the characters’ feelings through their small, quotidian joys and tragedies. It is here where Lamont’s years as a journalist (for The Guardian and GQ) clearly translate into a canny understanding of surface-level wants alongside deeper, subconscious motivations.
Though at times the plot can feel a tad tidy, the sight of a few seams doesn’t take away from this funny and poignant, bittersweet and moving — yet never maudlin — debut. “Going Home” made me cry on more than one occasion, and laugh out loud many more times. It’s a terrific reminder that what binds us to our loved ones isn’t blood but the care we take to keep them close, and our ability to show up for them when we screw it up on the first go-round.
GOING HOME | By Tom Lamont | Knopf | 287 pp. | $28
Culture
Finding Wisdom in a Poem by Wendy Cope
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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