Andrew van der Vlies

Tunde, a photographer and art professor at Harvard, attempts to photograph a hedge in his neighbourhood in Cambridge, Massachusetts. Waved away by a white property owner suspicious of a Black man on his street, Tunde tries again midway through Teju Cole’s new novel, Tremor, but, trusting his feeling of unease, leaves. (One is put in mind of the notorious 2009 incident in which neighbours reported Henry Louis Gates Jr for trying to force open his own Cambridge front door.) It is not until the final pages that Tunde returns to the scene and tries again, in the dead of night, after a party he has hosted with his partner, Sadako. The first exposure is too bright, the second too inky; too much is in frame, then not enough. Finally, he makes what he believes might be a successful image. Makes not takes; the difference is significant.

In 2015, the Nobel Prize-winning author J.M. Coetzee released a volume of reflections on ‘truth, fiction and psychotherapy’ under the title The Good Story. The volume, co-written with Arabella Kurtz, a psychotherapist, preserves the distinctiveness of the viewpoints of the two interlocutors throughout. As we read these exchanges between the writer and the psychotherapist, we are in the realm not of ‘autrebiography’, where the self is endlessly reflected as if in a hall of mirrors, but of autobiography, where the self is transparent to itself and its own viewpoint. What we hear on Coetzee’s side is the plain voice of the author – an author not undone by an army of caveats about truth in the vein of the postmodern, an author who has not departed and been replaced by her readers. This is a voice that engages with Plato’s injunction against the poets in The Republic, a voice that finds value in the artifice of the ‘good story’ even as it acknowledges the failure to tell the story of the good, a voice that ruminates on whether truth as an ethical enterprise might even have disappeared from the psychotherapist’s consulting rooms. In the only mention of this work in the capacious Bloomsbury Handbook to J.M. Coetzee – it occurs in Nick Mulgrew’s chapter ‘Later Criticism and Correspondence’ – this statement is recorded:

In the dying months of the last century, I took a crash course in Modern British Fiction. I had opted for the most contemporary course on the Oxford English MPhil that covered the most contemporary period (1880 to the present, then generally understood to have ended circa 1970). My elective choices had all been a little unpopular: rather than a term parsing Ulysses, I read all of Conrad; where the crowd chose Pound or Eliot for the poetry elective, I turned up at St John’s each week to talk about Yeats.

'A fifteen-year-old African genius poet altar boy who loves blondes is not a criminal, not a racist, not a sell-out.’ Perhaps not unlike other fifteen-year-old males, he is prone to bouts of solipsism and radical empathy, as absorbed by superhero fantasies of escape (and retribution) as he is by the semiotics of text messaging and sneakers. He is as unique as the next genius-poet altar boy – but also as generic, an utterly predictable mix of reticence and masturbatory self-aggrandisement. This is the wager of Stephen Buoro’s engaging début, and what renders its narrator-protagonist, Andy Aziza (a genius-poet altar boy who is also, it turns out, a genius mathematician), so memorable.