Since our department added narrative nonfiction as a required class a few years ago, I’ve read a lot of memoirs lately. In many cases, what draws me in is what I hope to guide my students through — namely, a reckoning with one’s origins. Sometimes these kinds of stories are steeped in trauma, in exile. Lately I’ve read that kind of story so often that I feel like I can recognize the tropes, the beats, even the surprises in those memoirs. I hope that is the sign of a perceptive reader rather than the sign of a skeptical or jaded one.
Ingrid Rojas Contreras shapes an origin / ancestral story that truly had me in suspense and in its thrall. The Man Who Could Move Clouds: A Memoir is a sort of quest, a righting, an answer to the request of their deceased grandfather, a renowned curandero.
What’s unique, primarily, about the memoir is the detailing of inspiration. I mean “inspiration” literally — Contreras & her family are spirited beings, spirit-readers, spirit-talkers. Her family story draws upon pre-colonial Colombian ritual & wisdom without ever losing the challenges & hauntings of the present; her story of the present draws upon the century-long conflicts & disappearances of Colombian history without ever losing the apolitical heart of the story. Nono, the grandfather curandero, has visited his daughter & Contreras (his granddaughter) asking to put to rest — except that he’s been dead & buried for years.
At the heart of the story is a doubling. Contreras & her mother look so much alike that family & friends alike constantly remark on it. Contreras & her mother have suffered / experienced a kind of amnesia that leaves them in some small way separated from themselves & linked to spirit voices & truths.
It’s complicated. It’s … you’d call it magical realism, if Contreras were not there to tell you that to Colombians, this is simply their realism. It ends with the kind of peace that, while impermanent, is lasting enough for most of us.
I often judge books by their covers, which often works out, as it did when I picked up Godshot by Chelsea Bieker. It’s a story set in (but not deeply precise about) climate crisis, a current-day drought-affected California rural community; it’s a story with character driven by (but not deeply probing about) a current-day American brand of Christian apocalyptic male leader ego & charisma. Bieker depicts the ways that the protagonist Lacey May must live within the strict boundaries imposed by the drought & by her Pastor. Family dysfunction & adolescent ignorance is balanced by a sort of wounded mother character on the outskirts of Lacey’s town–the proprietor of a phone sex business. There are forced impregnations, baptisms in soda in lieu of water, shabby trailer & apartment living, and even a kind of shootout or two. It is not pretty, even if it is often darkly funny. I worried that in enjoying this novel I was participating in a sort of class snobbery. Were it not that Bieker has affection for her characters (enough that good things happen to the mostly-good and bad things happen to the mostly-bad), I might have had a really sour taste in my mouth after & during this novel. But it somehow works.
Blackouts by Justin Torres is a provocative & thoughtful novel, artful & deeply moving. Torres’s protagonist / witness (the pseudonymous Nene) is a queer sometimes hustler visiting a decades-older Juan Gay, who is clearly dying. The action of the novel is not about conflict resolution but instead about blackout unveiling. Nene listens to Gay reveal an oral & lived & academically bowdlerized queer history.
As a child, Gay was effectively adopted by a queer researcher, who renames herself Jan Gay, and her beloved, who also renames herself & who uses Juan Gay as a model for her children’s book illustrations. The research Jan Gay conducts is thorough & personal, given her ability to interview subjects as a fellow queer. Knowing that her work will be published only under the co-authorship of a traditional academic, Gay opens herself & her subjects’ lives up to academic scrutiny, misinterpretation, & eventual erasure–the research becomes published in near-unrecognizable form & intent under the title Sex Variants: A Study of Homosexual Patterns.
I’m making this novel sound very bookish–it kinda is, but it is more erotic than sexual, more about friendship than eros, more about the desire to know & love than to transgress. Juan Gay’s storytelling draws upon Nene’s own rash exploits & johns, upon academic rigor & image, upon Berlin bohemianism & Puerto Ricanness, upon flashbacks & rereadings. It is the kind of novel that makes you feel more empathetic & intelligent, more aghast & awakened with each page.











