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So, for a book set in 2006, Open City evades certain markers, while it embraces certain others. Julius doesn't use a smartphone, and he doesn't discuss contemporary US politics in any fine detail.

Teju Cole

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Teju Cole
Age: 49
Born: 1975
Born: June 27
Art Historian
Photographer
Writer
Michigan
United States
Book
Fine
Julius
Cities
Embraces
Open
Discuss
Politics
Detail
Use
Contemporary
Doesn
Details
Others
Embrace
Evades
Certain
City
Markers

More quotes by Teju Cole

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Always say no pun intended to draw attention to the intended pun.
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It is dangerous to live in a secure world.
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I adore imaginary monsters, but I am terrified of real ones.
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I often say I've spent more time with photography than I have with literature just in terms of hours.
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The strange thing, though, is that most people who write novels these days seem to be aware of only a fraction of its possibilities. Kundera goes on and on about this, and I never tire of reading him on the subject, because I agree very deeply with it.
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One of the difficulties of photography is that it is much better at being explicit than at being reticent.
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Sebald, Naipaul, and Joyce are three of my biggest influences, all of them for their formal freedom and their ability to create mood. So those comparisons are immensely flattering and, of course, unearned.
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I deeply respect American sentimentality, the way one respects a wounded hippo. You must keep an eye on it, for you know it is deadly.
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The novelist loses, every time. Politics is insidious, the modern conduct of war (from shoulder-launched rockets to drone strikes) is insidious. Someone presses a button in California and twenty people are incinerated at a wedding in Pakistan. The killer is spared the sight of the corpses.
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The big idea behind it was to somehow participate in the discussion about justice. What does it mean to be just to the others out there whose lives we do not think about. One of the answers I came up with was simply tell their stories.
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Love perhaps includes the promise that when the mob comes for you I'll go against the mob.
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Each time I caught sight of geese swooping in formation across the sky, I wondered how our life below might look from their perspective, and imagined that, were they ever to indulge in such speculation, the high-rises might seem to them like firs massed in a grove.
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The Australian Gerald Murnane, a genius on the level of Beckett, is known in Australia and Sweden but almost nowhere else. And I loved Reality Hunger, David Shields' recent novel take on the art of the novel.
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Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as these stories concern us at all, we are never less than heroic.
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Not in this specific form. But all great cities are inhabited by ghosts. A book of this kind could probably be written about Jakarta, Manila, or London by anyone who had a feeling for the invisible truths of those places.
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Still, there's that faint glimmer of hope we feel when we sense, in other people, the same kind of attentiveness to life that we take comfort in. Why else would anyone watch Haneke films or read Sebald? The material is grim, but it's redeemed by the quality of the attention.
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A MOB is not, as is so often said, mindless. A MOB is single-minded.
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It takes a few years to understand what we've lived through. At the moment, we're still sort of mired in the irrelevant bullshit. There isn't yet that public conversation about 9/11.
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Yes, there's a relaying of internal states that only a novel can achieve. In my view, the novel is one of Europe's greatest gifts to the world. America and Africa collaborated to give the world jazz. We'll call it even.
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I just realized that we're facing here is an empathy gap. And this was just another way to generate conversation about something that nobody wanted to look at.
Teju Cole