A tale of liminality and family, characters continually trying to piece themselves together among persistent loss. This is the condition of being a migrant, of being in-between, told in a stunning story which spans nearly fifty years.
Normally there is a safe distance between the reader and the work, however transgressive it is, whereas in Dustan’s writing the language is intimate, precise, explicit, pornographic even, and yet, ultimately, an attack on what is known as “Literature”.
Brar’s book marks an important step in understanding the value of this music and how it allowed these black electronic musicians, DJ’s and MC’s to prosper against all the odds.
What, then, distinguishes such a novel as TIGHT LITTLE VOCAL CORDS from the very many novels — going back to the very beginning of the form — that assimilate “other” modes of writing
Meyer’s revue of misfits, dreamers, guards, clerks, and cleaners are not at pains to identify with the reality they don’t feel invited to participate in — something their wild whims and delusions show us on every page.
I did not read Lauren Oyler’s debut, FAKE ACCOUNTS, for fun, and I won’t say that’s what it turned into, because that would be something adjacent to a lie. I read it for the discourse.