Open City*

A lighted street, an alley. A road closed for construction or a botched concert featuring a boy rock band. I have always wondered what makes a city run, what makes it what it is. What makes it tick – the soul and the fabric of its existence and sustenance. An underground tunnel, a monument. Hotels with distinguished butlers and visiting guests. Cars, concrete, curbs. Lights. People walking around with a thousand different motives and stages of contemplation. A gathering of friends at Hooter’s. Fireworks. Sparklers. Fourth of July. The hovering however-you-define-it American Spirit.

There is all humanity represented sometimes within a square mile. The angry driver. An open sewer covered with a wire mesh. Laughing, nervous children chaperoned by parents. A stranger smoking outside a tall building. Stacked rows of mobile bathrooms. Traffic lights. Taxis in city colours. Noise. The reported crime rate that rivals any other across the country. A wrong turn towards an abandoned railway and the occasional hair-raising contemplation of the consequences of abandonment. Old city. New city. Open city. St. Louis, or a thousand others. The beating heart of humanity condensed in one spot in time and history. One minute, and a slice of a much larger story.

*Open City is the title of a new acclaimed book by Nigerian writer Teju Cole about an immigrant in New York City. This post is only a creative anticipation of the novel’s premise.

On Teju Cole’s “Open City”

Here’s a few words on Nigerian writer’s American debut novel published by Random House books:

In Teju Cole’s novel “Open City” (Random House, 259 pages, $25), the narrator, a Nigerian émigré named Julius, says that he has developed the habit of “aimless wandering” through New York City. He is not being coy. “Open City” obediently follows him as he ambles through Central Park, browses in bookstores, strolls through museum galleries and tours the sights around Wall Street. He is in America on a fellowship to study psychiatry; when he takes a vacation, he goes to Brussels and wanders aimlessly there.

Julius finds that the more he roams the “solitary but social territory” of the streets, the more invisible he becomes. In part because he’s an expatriate and in part because he’s attracted to an existential philosophy that exalts “being magnificently isolated from all loyalties,” Julius feels alienated from the busy neighborhoods he passes through and the garrulous people he meets. Yet there remains a vague purpose to his purposelessness, a low-simmering desire to recognize himself in his surroundings: “I wanted to find the line that connected me to my own part in these stories.”

Not having read the book yet, what fascinates me the most about what I’ve read is the premise on which the book is based – the very nuanced nature of cities (and towns) and what they can offer us either at the level of imagination, or merely at face value. A new short story set in Edwardsville? Why not?

More on the book here and here in the New Yorker.