Tommy Orange’s debut novel, published in 2018. I read an Alfred A. Knopf first edition from the library.
3 out of 5 stars.
Times Read: 1
Modern Native Americans living in Oakland converge on a powwow.
There There never tries to hide its climax. Early on, we know guns and bullets will be smuggled into the powwow and from there, we know there will be shooting and death, so I’m not going to be coy in this review about hiding it, either.
Orange’s writing is solid with refreshingly modern references and deeply effecting moments. Each chapter is named after its central character, some receiving many chapters, some with one. For the most part, I was able to keep the characters straight but near the end, when many of the characters find themselves in the same place, I had a hard time keeping up with who was who.
I wish There There had remained a collection of short stories with overlapping characters and no climatic final event. The book’s greatest strength is its characters. I was surprised by how much I liked each one I met in Part I. I would have read a whole book following their days and thoughts. I was more interested in that than the Reservoir Dogs-esque robbery gone wrong at the end.
If There There insists on having a mass shooting, then put it in the middle of the book right after the Interlude. Finishing a story at the point of a mass shooting makes the shooters the protagonists of your work. Simple as that. If the story ends there, then the story was about them. I would have liked to see the fallout of the event, seen how the country reacted to such a thing (how would America react if Native Americans perpetuated a mass shooting at a Native American event?), and seen how these characters coped and interacted.
This is a first novel and it shows in parts. The dialogue is awkward with page-long data dumps where people express themselves and their feelings with great detail in a way that seems more diary than speech.
An interesting stylistic choice made by Orange is telling different chapters of the same character in different ways: Tony Loneman’s first chapter (p.15) is in first person, past tense; his second chapter (p.142) is in third person, present tense. Calvin Johnson’s first chapter (p.88) is in first person, past tense; his second chapter (p.144) is in third person, past tense. Dene Oxendene and Jackie Red Feather have both of their first two chapters in third person, but Dene’s are both present tense while Jackie has past tense, then present. And so on. Orange has good control of every style and tense, but it was odd that many characters started in first person when the end is told completely in third person. Orange starts us very close to these characters only to pull us further and further away the more time we spend with them. Continue reading