One of the most important reads for the inherent racism of “canon” American literature. Still timely analyses of how Black people are both represented and excluded in conversations about classics. Harold Bloom is somewhere in hell crying about this.

“An author is not personally accountable for the acts of his fictive characters, although he is responsible for them.” (86)

Girl whatever. A standard immigration story about a woman trying to assimilate to a new country. I think the banality of the story here was kinda the point, but as a consequence it lacked “stakes”. I really never found myself thinking about it when I put it down, nor eager to pick it back up. The writing was fine but it also suffered from overwriting and overwrought descriptions of each and every action from the characters.

The use of “yaneh” “tayeb” “habibi” (even at one point “my habibi”???? don’t pmo) was very adjacent to “pues” “tía” and “a ver” in Hispanic diaspora lit and was highkey cringe. Muna says shes “never seen a video before” (37) but later on goes to talk about seeing movies in Beirut as a child (?). Even included the beautiful trope of: “Shukran, Mr. Saltzman. I mean, thank you. Sorry, I’m tired.” (39) Also the conflict in Lebanon seemingly has no perpetrators, and is some distant, indistinct war that only has to do with “gangs” (LOL). Not to mention the “ghost” of the husband that she talks to like a really poorly written cliche. Also why did she keep her maiden name??? GIRL WHATEVER.

A hard book to summarize. It tackles grief and guilt in a blunt and often humorous way. Snappy writing too, which made it an easy read. This is very character driven, and is not really here to make sweeping statements about big philosophical or even political problems. That was a positive for me, and allowed the author’s tone and writing stand out even more.

I do not quite know the purpose of making the evil president Jewish, and the choice is even more questionable when he was the only character who has a distinct, racialized name.