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Ways of Going Home: A Novel
Ways of Going Home: A Novel
Ways of Going Home: A Novel
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Ways of Going Home: A Novel

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Alejandro Zambra's Ways of Going Home begins with an earthquake, seen through the eyes of an unnamed nine-year-old boy who lives in an undistinguished middleclass housing development in a suburb of Santiago, Chile. When the neighbors camp out overnight, the protagonist gets his first glimpse of Claudia, an older girl who asks him to spy on her uncle Raúl.

In the second section, the protagonist is the writer of the story begun in the first section. His father is a man of few words who claims to be apolitical but who quietly sympathized—to what degree, the author isn't sure—with the Pinochet regime. His reflections on the progress of the novel and on his own life—which is strikingly similar to the life of his novel's protagonist—expose the raw suture of fiction and reality.


Ways of Going Home switches between author and character, past and present, reflecting with melancholy and rage on the history of a nation and on a generation born too late—the generation which, as the author-narrator puts it, learned to read and write while their parents became accomplices or victims. It is the most personal novel to date from Zambra, the most important Chilean author since Roberto Bolaño.

LanguageEnglish
Release dateJan 8, 2013
ISBN9781466828209
Ways of Going Home: A Novel
Author

Alejandro Zambra

Alejandro Zambra (Santiago de Chile, 1975) ha publicado, en Anagrama, las novelas Bonsái (2006), La vida privada de los árboles (2007), Formas de volver a casa (2011) y Poeta chileno (2020), el libro de cuentos Mis documentos (2014), las colecciones de ensayos No leer (2018) y Tema libre (2019), y un par de libros bastante más difíciles de clasificar, como el particularísimo Facsímil, que Anagrama recuperó en 2021, y Literatura infantil (2023), una serie de relatos, de ficción y no ficción, sobre infancia y paternidad. Sus novelas han sido traducidas a veinte lenguas, y sus relatos han aparecido en revistas como The New Yorker, The New York Times Magazine, The Paris Review, Granta, Harper’s y McSweeney’s. Ha sido becario de la Biblioteca Pública de Nueva York y ha recibido, entre otras distinciones, el English Pen Award, el O. Henry Prize y el Premio Príncipe Claus. Actualmente vive en la Ciudad de México.

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Rating: 3.975247516831683 out of 5 stars
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  • Rating: 4 out of 5 stars
    4/5
    Ways of Going Home is told from the point of view of a Chilean novelist who grew up during Pinochet's dictatorship. It alternates between excerpts from his novel and what is happening in his real life. The novel within the novel is fairly autobiographical, and by using this structure, Zambra illustrates how using writing can help someone process their past and their present. I liked that the book wasn't overtly political. The book isn't exactly about Pinochet's dictatorship, but rather about what it is like to be a child in such a turbulent period in Chile's history, the relationship between parents and their children, and how this affects adulthood. I found the book to be really well written (and/or well translated, I suppose). I can't think of the word to describe his writing. I want to say it was somehow slow and simple, but in a very positive way. I want to say that every paragraph packed a punch (a very gentle punch) far greater than the words contained in the paragraph. I'll just say I liked the writing. I saw this book at the library, and found the cover appealing and it is short, so I decided to read it for a reading challenge as a book I found at the library by browsing. I didn't vet the book on Goodreads at all and this unusual, as I like to know what I'm getting into. I'm glad I found it, it was a nice, quick read.
  • Rating: 5 out of 5 stars
    5/5
    A journey of amazing reality and beauty! Superb ,wonderful , original !
  • Rating: 5 out of 5 stars
    5/5
    There are no sandwiches in this book, which I appreciate. What I didn't like, however, was the use of the word "noodles" when the characters were clearly eating spaghetti.
  • Rating: 5 out of 5 stars
    5/5
    I am quickly falling in love with Spanish speaking authors. Zambra, who is from Chile, weaves a poetic story about the earthquake that hit Santiago, Chile when he was a kid. It's also a story about how he grows up and searches for Claudia, a girl he knew when he was young. He writes about what it's like to leave home and go home and, I think, elaborates poetically on the feeling of never being able to go back to your childhood home the same way again.
  • Rating: 3 out of 5 stars
    3/5
    The novel-within-a-novel structure is clever but frustrating. The language is beautiful, but this left me wanting.
  • Rating: 5 out of 5 stars
    5/5
    Autobiography and fiction are intermingled in this short novel to the extent that by the end they have nearly blended into one story. It is about the past and about living with the past and making sense of it. It's about explaining parents' inexplicable behavior. It's about dictatorships and the scars they leave, even on those who on the surface, seem to have come through unscathed. It is beautifully translated by Megan McDowell, and her imprint is so light that it is almost as if it was written as intended in English. Highly recommended.Quotes:If there was anything to learn, we didn't' learn it. Now I think it's a good thing to lose confidence in the solidity of the ground, I think it's necessary to know that from one moment to the next everything can come tumbling down.To read is to cover one's face, I thought. To read is to cover one's face. And to write is to show it. Parents abandon their children. Children abandon their parents. Parents protect or forsake, but they always forsake. Children stay or go but they always go. And it's all unfair, especially the sound of the words, because the language is pleasing and confusing, because ultimately we would like to sing or at least whistle a tune, to walk alongside the stage whistling a tune. We want to be actors waiting patiently for the cue to walk onstage. But the audience left a long time ago.I knew little, but at least I knew that: no one could speak for someone else. That although we might want to tell other people's stories, we always end up telling our own.
  • Rating: 4 out of 5 stars
    4/5
    This was a very interesting and enjoyable read. It was the right blend of "literary writing" with story-telling for me; there was a flow to it and I was never distracted by contrived or over-done writing.

    The story itself was not what the story was, if that makes sense... I thought it was a lot like "The Sense of an Ending", in its questioning of memories and the relationship between past and present - but unlike it in that it lacked the questions of guilt and accountability (although that is present in the book, but mainly as a question about the comportment of his parents and their generation during the Pinochet regime).

    Compared to "The Sense of an Ending", "Ways of Going Home" is more about the way we handle the present under the weight of the past. There is also the additional element of comparing an actual present to a fictional past - this is a clever way to write a book. There are two parts: one is about a young writer wrestling his life and the book he's working on, and the other is his semi-autobiographical novel.

    This is a writer's novel, with insight to the writer's mind and observations, if not the writing process; lots of intertextuality, references to other writers, even direct quotes. I love books that quote other authors (unless they become overdone, overworked, intellectual to the point of pretentiousness).
  • Rating: 4 out of 5 stars
    4/5
    There was a lot that was good in Ways of Going Home, and it was generally very readable, but ultimately it seemed a little thin and did not fully work for me. The postmodernism became somewhat wearying, in part because it did not have enough else to sustain ones interest.

    The novella is divided into parts. The first is the story of a boy meeting a girl in the wake of the 1985 earthquake and his agreeing to spy on his neighbor for her. The second part is the author himself writing the first part. The third part returns to the story when the boy/author meets the girl again twenty years later and has an affair with her. The final part returns to the writer talking about writing the book.

    One of the recurring themes in the book is dictatorship and the impact it has on children and how it is perceived by them. It is also about writing and remembering and creating characters. Overall it seems ambitious and only partly successful--but I would be interested in reading more by Alejandro Zambra.
  • Rating: 4 out of 5 stars
    4/5
    This is less a traditional novel than a work of post-modern exploration about the legacy of growing up in Pinochet's Chile, and the more general relationship between parents and children.This slim volume is beautifully written and translated. It was a pleasure to read and makes one want to explore Zambra's other work.
  • Rating: 4 out of 5 stars
    4/5
    There was a lot that was good in Ways of Going Home, and it was generally very readable, but ultimately it seemed a little thin and did not fully work for me. The postmodernism became somewhat wearying, in part because it did not have enough else to sustain ones interest.The novella is divided into parts. The first is the story of a boy meeting a girl in the wake of the 1985 earthquake and his agreeing to spy on his neighbor for her. The second part is the author himself writing the first part. The third part returns to the story when the boy/author meets the girl again twenty years later and has an affair with her. The final part returns to the writer talking about writing the book.One of the recurring themes in the book is dictatorship and the impact it has on children and how it is perceived by them. It is also about writing and remembering and creating characters. Overall it seems ambitious and only partly successful--but I would be interested in reading more by Alejandro Zambra.
  • Rating: 3 out of 5 stars
    3/5
    Alejandro Zambra is a Chelian novelist who writes in Spanish. This is a translated book. The book starts with an earthquake and ends with one. The author in first person narrates his experience of writing a novel. As a child of nine he meets Claudia on his front lawn after the earthquake. She is the niece of his neighbour, Raul. This is 1985 when Chile was under a dictatorship. Claudia asks the author to keep an eye on her uncle. Later as the story unravels Raul is really Claudia's father who had to change his identity because of his political affiliations. After many years the author meets Claudia and the story is revealed.This is a novel which stutters in its course. The author thinks about abandoning the project but prods on. Painfully. Though there are some good passages there is no real story and the novel is a bore. 
  • Rating: 4 out of 5 stars
    4/5
    "Instead of screaming, I write books" R. Gary This is a redemptive tribute to those who went missing during the Pinochet regime. To all those unknown names whose blood still runs through the veins of the silenced generation which was growing up during this elusive period in Chile.Zambra’s unpretentious voice gets irretrievably tangled with the one narrating the story, a nameless writer, who simultaneously mirrors his life through his characters, creating a perfecty circled metanarration, overflowing with complex yet sophisticated symbolism."The novel belongs to our parents," the narrator says, understanding that his childhood experience of censorship and brutality was indirect, diluted by his infancy. Zambra plays a magic trick in creating an evocative past even in such a distressing time, where children played to be either war correspondents or secret spy agents or, if you prefer, secondary characters, as the metafiction kicks in with force. The passage of time gives perspective to the ones now remembering. Zambra and his narrator dare to speak in an attempt to relieve the painful hungover which comes from a violent past and the arduous task of coming to terms with a disorienting history. The once oblivious child has no choice but to carry the heavy burden of guilt on behalf of his parents, who were passive supporters of Pinochet, and learn to live with the increasing tension and estrangement towards them. I felt disturbed with recognition about the way Zambra faced his conflicting emotions when evoking his parental figures. The abstract need, the unquestionable respect for his parents in his youthful days as opposed to the embarrassment and disapproval he feels for them in the present. It rings a bell.“You went a different way,” my mother said later, angry, her eyes still swollen. You were the ones who went a different way, I thought, but I didn’t say it.”The different ways of remembering which try to ease the anguish of knowing that you have become an orphan when you decided to start writing.“I thought about my mother, my father. I thought: What kinds of faces do my parents have? But our parents never really have faces. We never learn to truly look at them.”This novel is also a hymn to the vocation of writing, and it’s precisely this calling which urges the narrator to write down the slippery scenes of a long gone past to give first names to these secondary characters, to explain, in the end, his own story."Although we might want to tell other people's stories we always end up telling our own." The courageous catharsis of giving up the fictional framing to write about oneself, to finally speak out loud. That is what pierced right through me. To see these survivors of a lost world dealing with their present the best they can. Some stay, some fly away.And the shock which comes with the understanding that it’s just because you want them to stay that you have to let them go. And that it really doesn’t matter. Either staying or going, each one has to find its own way of going back home.
  • Rating: 4 out of 5 stars
    4/5
    This is a novel within a novel, in that it is from the viewpoint of a young boy that the first part of the novel is written, the second part is narrated by the author of the first past. Confused? Meta fiction is a style that is fantastic when the prose is but that can alos be confusing. I liked this book but at times I was confused. Chile, during Pinochet's dictatorship, the novel take place between two big earthquakes, a first love, and the changing perspective between what is seen and thought as a child and than remeasured as a adult are all emcompaased in this small book. There is no detailed information on really anything, just glimpses and yet the book works.

Book preview

Ways of Going Home - Alejandro Zambra

SECONDARY CHARACTERS

Once, I got lost. I was six or seven. I got distracted, and all of a sudden I couldn’t see my parents anymore. I was scared, but I immediately found the way home and got there before they did. They kept looking for me, desperate, but I thought that they were lost. That I knew how to get home and they didn’t.

You went a different way, my mother said later, angry, her eyes still swollen.

You were the ones who went a different way, I thought, but I didn’t say it.

Dad watched quietly from the armchair. Sometimes I think he spent all his time just sitting there, thinking. But maybe he didn’t really think about anything. Maybe he just closed his eyes and received the present with calm or resignation. That night he spoke, though: This is a good thing, he told me. You overcame adversity. Mom looked at him suspiciously, but he went on stringing together a confused speech about adversity.

I lay back on the chair across from him and pretended to fall asleep. I heard them argue, always the same pattern. Mom would say five sentences and Dad would answer with a single word. Sometimes he would answer sharply: No. Sometimes he would say, practically shouting: Liar. Sometimes he would even say, like the police: Negative.

That night Mom carried me to bed and told me, perhaps knowing I was only pretending to sleep and was listening, curious and attentive: Your father is right. Now we know you won’t get lost. That you know how to walk in the street alone. But you should concentrate more on the way. You should walk faster.

I listened to her. From then on, I walked faster. In fact, a couple of years later, the first time I talked to Claudia, she asked me why I walked so fast. She had been following me for days, spying on me. We had met not long before, on March 3, 1985—the night of the earthquake—but we hadn’t talked then.

She was twelve and I was nine, so our friendship was impossible. But we were friends, or something like it. We talked a lot. Sometimes I think I’m writing this book just to remember those conversations.

The night of the earthquake I was scared but I also, in a way, enjoyed what was happening.

In the front yard of one of the houses, the adults put up two tents for the children to sleep in, and at first it was chaos because we all wanted to sleep in the one that looked like an igloo—those were still a novelty back then—but they gave that one to the girls. So we boys shut ourselves in to fight in silence, which was what we did when we were alone: hit each other furiously, happily. But then the redhead’s nose started bleeding, so we had to find another game.

Someone thought of making wills, and at first it seemed like a good idea; after a while, though, we decided it didn’t make sense, because if a bigger earthquake came and ended the world, there wouldn’t be anyone to leave our things to. Then we imagined that the earth was like a dog shaking itself so people fell off like fleas into space, and we thought about that image so much it made us laugh, and it also made us sleepy.

But I didn’t want to sleep. I was tired like never before, but it was a new tiredness that burned my eyes. I decided to stay up all night and I tried to sneak into the igloo to keep talking to the girls, but the policeman’s daughter threw me out, saying I wanted to rape them. Back then I didn’t know what a rapist was but I still promised I didn’t want to rape them, I just wanted to look at them, and she laughed mockingly and replied that that was what rapists always said. I had to stay outside, listening to them pretend that their dolls were the only survivors; they mourned their owners, crying spectacularly when they realized they were dead, although one of them thought it was for the best, since the human race had always seemed repellent to her. Finally, they argued over who would be in charge. The discussion seemed long to me, but it was easily resolved, since there was only one original Barbie among the dolls: she won.

I found a beach chair among the rubble and shyly approached the adults’ bonfire. It was strange to see the neighbors all gathered together, maybe for the first time ever. They drowned their fear in cups of wine and long looks of complicity. Someone brought an old wooden table and threw it casually on the fire. If you want, I’ll throw the guitar on, too, said Dad, and everyone laughed, even me, though I was a little disconcerted because Dad didn’t usually tell jokes. That’s when our neighbor Raúl returned, and Magali and Claudia were with him. These are my sister and my niece, he said. After the earthquake he had gone to look for them, and now he was coming back, visibly relieved.

Raúl was the only person in the neighborhood who lived alone. It was hard for me to understand how someone could live alone. I thought that being alone was a kind of punishment or disease.

The morning he arrived with a mattress strapped to the roof of his old Fiat 500, I asked my mother when the rest of his family would come; she answered sweetly that not everyone had family. Then I thought we should help him, but after a while I caught on, surprised, that my parents weren’t interested in helping Raúl; they didn’t think it was necessary and they even felt a certain reluctance toward that young, thin man. We were neighbors, we shared a wall and a privet hedge, but there was an enormous distance separating us.

It was said around the neighborhood that Raúl was a Christian Democrat, and that struck me as interesting. It’s hard to explain now why a nine-year-old boy would be interested that someone was a Christian Democrat. Maybe I thought there was some connection between being a Christian Democrat and the sad circumstance of living alone. I had never seen Dad speak to Raúl, so I was surprised to see them sharing a few cigarettes that night. I thought they must be talking about solitude, that Dad was giving our neighbor advice about how to overcome solitude, though Dad must have known very little about the subject.

Magali, meanwhile, was holding Claudia tightly in a corner, away from the group. The two of them seemed uncomfortable. I remember thinking that they must have been uncomfortable because they were different from the rest of the people gathered there. Politely, but perhaps with a trace of malice, one neighbor asked Magali what she did for a living; Magali answered immediately, as if she’d been expecting the question, that she was an English teacher.

It was very late and I was sent to bed. I had to reluctantly make space for myself in the tent. I was afraid I might fall asleep, but I distracted myself by listening to those stray voices in the night. I understood that Raúl had taken his relatives home, because people started to talk about them. Someone said the girl was strange. She hadn’t seemed strange to me. She had seemed beautiful. And the woman, said my mother, didn’t have an English teacher’s face.

She had the face of a housewife, nothing more, added another neighbor, and they drew out the joke for a while.

I thought about an English teacher’s face, about what an English teacher’s face should be like. I thought about my mother, my father. I thought: What kinds of faces do my parents have? But our parents never really have faces. We never learn to truly look at them.

I thought we would spend weeks or even months outside, waiting for some far-off truck to bring supplies and blankets. I even imagined myself talking on TV, thanking my fellow Chileans for their help, the way I’d seen people do during the rainstorms. I thought about the terrible floods of other years, when we couldn’t go out and we were practically obligated to sit in front of the screen and watch the people who had lost everything.

But it wasn’t like that. Calm returned almost immediately. The worst always happened to other people. In that lost corner west of Santiago the earthquake had been no more than an enormous scare. A few shacks fell down, but there was no great damage and no one died. The TV showed the San Antonio port destroyed, as well as some streets I had seen or thought I had seen on rare trips to downtown Santiago. I confusedly intuited that the true suffering happened

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