Others of my Kind, by James Sallis
I loved Drive. It’s a great book, well written and atmospheric. When recently I felt like taking another swim in Sallis’s coolly written prose, I chose his Others of my Kind which Guy Savage gave a very favourable review to back in 2013.
Unfortunately, I didn’t particularly like Others. I suspect I’m in a minority in that, so I’ll try to explore below what didn’t work for me and touch on how some seem to have found more in it than I did.
Jenny Rowan is a gifted tv news video editor, unusually skilled at putting together two minute packages of visuals and sound that make sense from a mass of chaotic raw footage. She finds patterns, creates order. She’s so good at what she does that she could easily find a better paid job with a more prestigious network, but she likes the people she works with and she’s more interested in the quality of her work than gaining recognition for it.
Reading that paragraph I’m struck by how rounded a character she already seems there. This is a roughly 150 page novel, but the characters in it are sharply drawn and stand out. Sallis is good on character.
Sallis is good on description too. Here’s the first paragraph:
AS I TURNED INTO MY APARTMENT COMPLEX, sack of Chinese takeout from Hong Kong Garden in hand, Szechuan bean curd, Buddhist Delight, a man stood from where he’d been sitting on the low wall by the bank of flowers and ground out his cigarette underfoot. He wore a cheap navy-blue suit that nonetheless fit him perfectly, gray cotton shirt, maroon tie, oxblood loafers. He had the most beautiful eyes I’ve ever seen.
The man, Jack Collins, is a police officer. He’s there because Jenny has an unusual past. As an eight year-old she was kidnapped, then kept for two years by her kidnapper in a box under his bed, pulled out when from time to time he wanted to abuse her. When she finally escaped him she lived wild in a mall for some time, hiding from security and becoming an urban myth, “mall girl”, that most people believed had no foundation in fact. When finally she was caught, she went into care. It’s a horrific background, but despite her disadvantages she’s gone on to build a good life for herself. She’s valued, has friends and a place in the world.
Jenny’s past matters again because the police have found a young woman named Cheryl who, like Jenny, had been imprisoned by a sexual predator. Cheryl appears to be emotionally shut down and uncommunicative. Collins hopes that Jenny can reach her, that the similarity of experience can bridge the walls built up by trauma.
That sets the novel up with one sort of expectation, but Sallis quickly subverts that and the encounters between Jenny and Cheryl are only a small part of the wider narrative. This really is a story of Jenny reconnecting with the world, engaging with it. A friend at one point says to her that she still lives in a box, though now one of her own creation, content with her work and her neatly contained friends and relationships. Now she is reaching out, helping others.
Jenny tries to help Cheryl reconnect with the world, in the process becoming involved with Collins. She helps too some squatters who become neighbours, giving them gifts of food and medicine. She tracks down her parents, and in a slightly bizarre development reaches out to the vice president when the VP’s son goes missing. I’ll come back to that last relationship in a moment, as it’s where the book fell over for me.
Mostly Sallis develops all this with subtlety and skill, occasionally though I felt he was erring on the side of being perhaps a bit obvious, as here:
Lacking any semblance of childhood, having spent my adolescence in the wild as it were, I could fit in only by a kind of adaptation scarcely known outside the insect world. I mimicked those about me, finally with such vigor that few were able to distinguish conjured image from real. Even I sometimes confused the two.
I’d kind of got all that by the point this quote comes up in the book anyway, and it felt a bit on the nose for Sallis to actually have Jenny explicitly lay it out for me. More problematically though is a distinct lack of subtlety in the book’s politics.
The whole story takes place against a backdrop of news – Jenny works in the news business which conveniently allows Sallis to address contemporary US politics through her interest in it and her editing of it into bite-sized morsels (“I passed my workdays making sense of the world for others, taking up fragments of sensation and information and piecing them together, stitching quilts from leftovers and rag-ends of the world’s fabric.”) The book is set either in a slightly alternate now or in the very near future, the names of the president and vice-president are made up but the world they inhabit is utterly recognisable.
The problem though is that because the world is so recognisable, the political aspects become less a reflection of character or a development of story but rather direct commentary. I felt at times I was being lectured.
Further threats have been made, the White House press secretary states. Our intelligence gives these threats credence. We will keep you informed. Of course they will. Just as they rushed to inform us of actual body counts in Vietnam, U.S.-engineered assassinations in Chile, the systematic closing-down of power plants before the energy crisis of 2002, the cost of the Iraq war, or how deregulation might lead to financial collapse.
I wrote a comment against that paragraph when I read it, which read simply – bit ranty?
Similarly, while I agree with the next quote, I still felt I was being directly addressed rather than experiencing something within the fiction, and because of that it felt like an interruption in the novel (though it isn’t, since it’s in part at least the point of the novel):
Firmly seated at the front of the bus, so utterly accustomed to privilege that its presence has become invisible to them, our horde of senators, congressmen, secretaries-of, advisors, attorneys and lobbyists goes on deciding what is best for us. Little wonder that we feel helpless – ridden. The bureaucracy protects itself; that becomes its purpose. The machine has no off switch. As Bishop used to say: We’re set on SPIN, forever.
I’m not American. Drive is a deeply American novel, tapping into classic US imagery and iconic character types. I loved it. I grew up on Hollywood as much as the next British kid, and that culture while born of America is in part America’s gift to the world (for some a fairly unwelcome gift I admit, like an ill-fitting jumper from a relative you don’t much like, but I’m of the view that any country which gave us jazz, westerns and film noir can’t be all bad).
American myths travel well because they so frequently tap into the universal. Images of the frontier or of the lone figure righting wrongs in an indifferent world are to me deeply American, but they resonate far beyond that country’s shores (even if perhaps with slightly less force than they have locally). American politics though, like politics everywhere, is local politics.
So, if I were American perhaps the political content here would have spoken more to me. As it is though, I frankly don’t feel that strongly about the dysfunction and arrogance of American politics. We have our own dysfunctional and arrogant politics right here in Britain. It’s local not universal.
Even if I did care though, the novel isn’t saying anything interesting about it. Politicians are remote and out of touch. The system rewards itself, not those who vote for it. Is this news? It’s irritating, sure, but it felt at times more like Sallis was letting off steam than saying anything particularly notable.
Where I thought he was on stronger ground was when he drew comparisons between Jenny’s box and the boxes we all inhabit, boxes of our own making. To an extent of course we have to, just to be able to get through the day. We edit the world as Jenny does, making it manageable.
We spooned up dumplings, punctured them with chopsticks and sucked out the broth while all around us there at the mall streamed people whose worlds would never include dinners of insect-riddled, half-rotten rice, helicopters struggling to heave whole families up, up and away out of a ravaged city, or young women living in boxes beneath beds.
So many in the world live this way, of course. They come home to husbands, wives, lovers or family, talk over the day, talk about nothing in particular. Even when everything inside them wants to scream or weep or cry out, they go on talking, voices low, darkness rising like black water at their windows, in their lives.
But then, that first paragraph is true for almost anyone in the developed world; that second for anywhere at all.
The local and the universal continue through the book, until about the 80% mark or so when the narrative takes an odd turn as Jenny reaches out to the VP and the VP responds. What follows was for me just flatly unbelievable. What until then had been a reasonably naturalistic novel became something from an episode of the West Wing, a show that was for me crippled by its unrealistically idealised politicians. Sure, we can dream if we want to of President Bartletts, but they don’t exist any more than dragons or elves do. The West Wing for me was a fantasy show, less realistic in some ways than Game of Thrones, and in its last sections Others of my Kind similarly became for me a fantasy novel, a comforting one in which for once we don’t get the politicians we deserve.
Guy also had some doubts about the final parts of the book, but overall liked it much more than I did. A review in The Independent calls it “exquisitely crafted” and talks of Sallis’s “sublime hands” (which I agree he has actually, but not consistently here in my view). A review on a crime fiction blog here calls it “subtle” and “nuanced” (which it often is, just not always here, I do absolutely though agree with their comment that “the descriptions are tight, yet lucid”).
Sallis is a genuinely good writer, so if the political elements of the book sound to you like they might be interesting the odds are you’ll like this a lot. If however that part sounds less persuasive, this may be one to you’ll want to pass on.