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51 pages 1 hour read

Teju Cole

Open City

Fiction | Novel | Adult | Published in 2011

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Themes

Race, Ethnicity, and Difference

Open City explores the narrator’s racial identity, as well as the diverse identities of the people he meets in New York City and Brussels. Because he was born and raised in Nigeria, Julius sees his identity as different from that of Black Americans who are the descendants of enslaved people. Members of this latter group often want to connect with Julius because of their shared racial identity. For instance, a patient, Mr. F., says to him, “Doctor, I just want to tell you how proud I am to come here, and see a young black man like yourself in that white coat, because things haven’t ever been easy for us, and no one has ever given nothing without a struggle” (210). The patient forms a connection to Julius based on race; Julius doesn’t reject that connection, but he feels a degree of alienation, realizing that their common bond is not as straightforward as Mr. F. may think.

Throughout the novel, Julius considers identity as a complex network of commonalities and differences. He references Yoruban religious culture at a few points throughout the novel and considers how it differs from other religions. When he sees a woman praying through his window, he thinks, “Others are not like us, I thought to myself, their forms are different from ours. Yet, I prayed, too. I would gladly face a wall and daven, if that was what had been given to me” (215). In the subway, he names the Yoruba deities Obatala and Olodumare, connecting Obatala with people who “suffer from physical infirmities” (25). This category includes not only a blind man on the subway, but also John Brewster, an artist whose “deafness made him an outsider” (39). Later in the novel, Julius wonders if a woman at a party is deaf and considers asking the hostess, Moji, if his assumption is correct.

Julius’s psychiatric work focuses on the elderly, and he often talks to elderly people he meets in public, seeking to understand the physical and mental challenges that sometimes come with age. He notices how, within the grouping of patients with mental health conditions, “the differences are so profound that, really, what we are looking at is many tribes, each as distinct from the others as it is from the tribe of the normal” (205). Differences include individual mental state, not just outward physical appearance. Furthermore, mental states are harder to apprehend than skin color and can vary more widely than the range of skin tones.

Julius can be compared and contrasted with Farouq, a Moroccan he meets in Brussels. Farouq admires Malcolm X, who “recognized that difference contains its own value” (105). He believes “people can live together but still keep their own values intact” (112) and he wants “to understand how that can happen” (113). His shop is one place that brings very different people together to use the internet or make long-distance phone calls. He speaks a variety of languages to communicate with his diverse clientele. Farouq believes everyone suffers: “that is history: suffering” (123), and he sees the universality of suffering as the basis for a multicultural society in which people from diverse backgrounds and cultures coexist. On the other hand, Dr. Maillotte later uses this same claim about the universality of suffering to dismiss Farouq’s experience of racial discrimination.

New York City as a Palimpsest

Another theme in the novel reveals the layers of history that exist in the same location. Julius walks past the 9/11 memorial and thinks about how “The site was a palimpsest, as was all the city, written, erased, rewritten” (59). Julius notes how “the many buildings around [...] the same layering extended to their names, which recounted the history of institutions that had begun as civic establishments and gradually become dependent on philanthropic and corporate benefactors” (232). What buildings are named is related to who controls the funds for the corporations or institutions that they house. Names can be “written, erased, and rewritten” (59) by corporate takeovers. The material world of the city—its streets, its buildings, its signs—is continually destroyed, transformed, rebuilt in new ways, but, crucially, the erasure is always incomplete. Traces of the past remain visible within the present, and the city’s history can be read by peeling back its layers as an archaeologist might dig through layers of sediment.

One layer that Julius peels back to is the time of slavery. Part of New York City was once designated as the place where enslaved people and their descendants could bury their dead. This burial ground was originally at the edge of the city, but the city kept expanding. Relating the layers of history to the previous theme of Race, Ethnicity, and Difference, Julius notes: “the Negro Burial Ground was no mass grave: each body had been buried singly, according to whichever rite it was that, outside the city walls, the blacks had been at liberty to practice” (222). The oppression of people under American chattel slavery is different from the mass killings based on ethnicity.

Characters Julius interacts with also comment on New York City as a Palimpsest. His unnamed friend tells Julius about a particular type of tree called the “tree of heaven [...] Botanists call it an invasive species. But aren’t we all?” (179). This connects to Julius’s consideration of the original layer of the American Palimpsest: “Lenape paths lay buried” (59). Before the layer of history that includes slavery, Indigenous groups of the Americas were displaced by colonial settlers. Julius’s friend compares colonialists to invasive species. When he visits a detention center, Julius speaks with someone who recently sought to become an American. This man, Saidu, had a hard journey from Liberia to the US, only to be arrested the moment he set foot in JFK airport and denied asylum (70). Immigrants seeking asylum, like Saidu, can be contrasted with colonialists taking over an already populated land. The stories of these people are written on the layers of the palimpsest that is New York City.

Physical and Mental Wandering

Open City is structured around the narrator’s meditations while walking around the city—aimless physical and mental movement. He explains his perambulations, saying that it is “to break the monotony of those evenings that, two or three days each week after work, and on at least one of the weekend days, I [go] out walking” (6). The physical locations he visits during his walks includes places that are generally only visited by residents of New York City, such as a detention facility in Queens and a small memorial for old African American burial grounds. He goes out to the water, which is not on display in New York like it is in other coastal cities. Julius thinks New York is the “strangest of islands [...] The water was a kind of embarrassing secret” (54). Julius also visits popular tourist destinations, like Central Park, and takes a tour boat past the Statue of Liberty. Through all these physical locations, he gives the reader a strong sense of place.

Julius’s mind is explored alongside the landscape of New York City (and Brussels). Visiting several art exhibits and listening to classical music, both online and in person at Carnegie Hall, inspires Julius’s mental wanderings about the lives of artists. Also, Julius’s walks include hearing stories from random people and wanting “to find the line that connected me to my own part in these stories” (59). Because he structures Open City around these walks, Teju Cole’s book can be compared to the book The Rings of Saturn by W. G. Sebald. Many of Julius’s mental wanderings are related to books, and he physically visits a bookstore.

Books connect people as well as inspire Julius’s mental wanderings. For instance, Professor Saito is known for his “annotated translation of Piers Plowman” (9). Julius reads it the night before his last visit with the dying Saito. Julius connects with the character Langland, noting that he arrived at the section where Langland falls asleep, and “it was just as I began to read that section that I had fallen asleep” (178). Julius and Farouq talk about books in Brussels; once back in New York, Julius mails Kwame Anthony Appiah’s Cosmopolitanism (186) to Farouq. Books, like Julius, travel on New York City streets, as well as across oceans. He moves between strangers, acquaintances, friends, and lovers, as well as between various memories, philosophies, and other ideas.

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