All Our Namesby Dinaw Mengestu
From acclaimed author Dinaw Mengestu, a recipient of the National Book Foundation’s 5 Under 35 award, The New Yorker’s 20 Under 40 award, and a 2012 MacArthur Foundation genius grant, comes an unforgettable love story about a searing affair between an American woman and an African man in 1970s America and an unflinching novel about the fragmentation of lives that straddle countries and histories.
All Our Names is the story of two young men who come of age during an African revolution, drawn from the safe confines of the university campus into the intensifying clamor of the streets outside. But as the line between idealism and violence becomes increasingly blurred, the friends are driven apart—one into the deepest peril, as the movement gathers inexorable force, and the other into the safety of exile in the American Midwest. There, pretending to be an exchange student, he falls in love with a social worker and settles into small-town life. Yet this idyll is inescapably darkened by the secrets of his past: the acts he committed and the work he left unfinished. Most of all, he is haunted by the beloved friend he left behind, the charismatic leader who first guided him to revolution and then sacrificed everything to ensure his freedom.
Elegiac, blazing with insights about the physical and emotional geographies that circumscribe our lives, All Our Names is a marvel of vision and tonal command. Writing within the grand tradition of Naipul, Greene, and Achebe, Mengestu gives us a political novel that is also a transfixing portrait of love and grace, of self-determination and the names we are given and the names we earn.
This eBook edition includes a Reading Group Guide.
Immigrant stories are often about self-invention, but in his latest novel, in which an African escaping to America cannot leave his past behind, McArthur Fellow Mengestu (How to Read the Air) portrays the intersection of cultures experienced by the immigrant with unsettling perception. Each of the two narrators—one speaking from the past in Africa, one in present-day America—has a relationship with a young man named Isaac, and the two take turns describing these relationships. The African narrator, a 25-year-old aspiring writer, recounts how he leaves his rural village to subsist on the margins of a university in a city that he simply calls “the Capital.” There, he finds a friend in the magnetic Isaac, a young revolutionary who draws him into an antigovernment insurgency. The second narrator is Helen, a Midwestern social worker, who takes under her wing and into her heart an African refugee named Isaac, knowing little about his situation and nothing of his history. The action is set after the first flush of African independence, as democratic self-rule proves elusive, while in America racial and social divides persist. In Africa, Isaac, the revolutionary, endures beatings and torture before confronting his own side’s penchant for violence. In America, Helen and the man she calls Isaac face their own intractable obstacles. Mengestu evokes contrasting landscapes but focuses on his characters—Isaac, the saddened visionary; Isaac, the secretive refugee; Helen, the sympathetic lover—who are all caught in a cycle of connection and disruption, engagement and abandonment, hope and disillusion. Agent: P.J. Mark, Janklow & Nesbit Associates. (Mar.)
—Malcolm Jones, The New York Times Book Review (cover)
“Deeply moving . . . Great lyricism and ferocity . . . An elegiac quality oddly reminiscent of Evelyn Waugh’s Brideshead Revisited . . . Mengestu writes from the points of view of Helen and Isaac with poignancy and psychological precision, deftly evoking their very different takes on the world. He also manages to make the reader understand the many things they have in common . . . Mengestu is concerned here not only with the dislocations experienced by immigrants, but also with broader questions of identity: how individuals define themselves by their dreams, their choices, the place or places they call home.”
—Michiko Kakutani, The New York Times
“Disarmingly tender . . . Finely calibrated . . . The author perceptively explores the way that alienation serves as the handmaid of idealism . . . Leavening the attendant sadness if the fact that Mengestu’s characters never altogether abandon their hope—it survives not in political or social revolt but in the true and moving depictions of love and friendship.”
—The Wall Street Journal
“Mournful, mysterious . . . Tantalizingly laconic . . . Delicately drawn . . . The emotional power seeps through lines that seem placid . . . Devastating.”
“Extraordinary . . . Taut and swift as a novella with an abiding mystery driving it forward . . . Mengestu masterfully plays these two storylines off one another. In both threads, the narrative revolves around what is visible and invisible in a person’s character, and how this duality can lead to problems when one is charmed . . . The raptures at the heart of All Our Names have a steeling quality . . . One reads to the end with a kind of desperate intensity.”
“A subtle masterpiece . . . Mengestu uses love and war to powerfully explore a third, equally dramatic theme: identity . . . We see, in this novel, the way people become radicalized and get worked up for a cause; and the way at other times, people get worked up for love. Both can be directionless and, in the end, impossible . . . Mengestu tracks both themes with authority and feeling. His book is a powerful look at who we aren’t, and even, sometimes, who we are.”
—Meg Wolitzer, NPR
“Profoundly moving . . . Mengestu’s voice is a finely tuned instrument . . . It conveys the easy banter between buddies as well as the paradoxical wit of political slogans. Counterintuitively, it also captures the elliptical convolutions of human psychology . . . Its words may be simple, but All Our Names speaks volumes. It sounds a great reverberation.”
—San Francisco Chronicle
“Fierce and touching . . . As absorbing as it is thought-provoking . . . Mengestu’s best book yet.”
—Library Journal (starred review)
“Idealism, disillusionment, justice, and love—these are the topics beautifully explored in All Our Names . . . Sometimes lyrical, sometimes plaintive, Mengestu’s novel is about a young man coming to terms with his past and trying to determine his future. But it’s also a searing, universal story of emigration and identity.”
—Amazon.com, Best Book of the Month
“Speaks to Mengestu’s reach for new and more complex material. All Our Names rises above its particulars with an elegiac quality, a mourning for what has been lost not so much by any individual, but by whole countries and even a continent, as power corrupts absolutely and leaves its citizens with two choices: endure or escape.”
“Subtly powerful . . . Sharp . . . We need globe-straddlers like Mengestu to show us that love, like hate, respects no borders.”
“The stories of the narrators and the Isaacs intertwine as Mengestu explores the perils of love, identity, and memory for a person living in exile.”
“Elegiac and beautifully written . . . Unsettling . . . Mengestu skillfully locates this individual love story in the long shadow cast by the rise of dictatorial regimes across Africa in the turbulent decades that followed the end of imperial rule. From Isaac and Helen’s despair emerges something reassuring: a feeling of commonality and a modest sense of hope.”
“Magnificent . . . Mengestu seamlessly weaves together a disturbing story of parallel lives and plots. There are telling similarities between student unrest in Africa and in America, the dreams of young adults everywhere, particularly when they are thwarted by prejudice and racialism . . . Rendered with great tenderness and respect . . . We are not that different, after all.”
“All Our Names is about the ways social forces interfere with the bonds between individuals, as well as the ways those bonds hold, even when frayed . . . The story of Helen and the two Isaacs, and the ways their longings mesh or don’t, has a subtle power that gets under the surface of events to explore the complexities of human relationships.”
—The Columbus Dispatch
“Heart-rending . . . Gorgeously described . . . All Our Names both invokes and channels Great Expectations—a novel, like this one, about letting go of myths we’ll never inhabit, so that we might craft new stories that free us to live.”
—Milwaukee Journal Sentinel
“Mengestu grounds big ideas about an uprising in Africa in simple emotions. The story’s narrator, a student turned revolutionary, gets swept up in love as easily as he does in politics.”
—Time Out New York (critics’ picks)
“Mengestu’s sober, tender third novel is essentially a love story . . . Mengestu seamlessly inhabits Helen’s consciousness as well as Isaac’s with emotionally nuanced portraits that are poignant and compelling . . . A bold success.”
“Cleanly tailored but potent prose . . . Mengestu cleverly toys with our perceptions . . . Writing with the kind of effortless ease suggestive of much painstaking struggle, Mengestu locates the novel’s horror not in war per se, but in those seemingly born to its bidding.”
—The Toronto Star
“This is not a book about war—it is a book about love . . . A love born out of loneliness and need, complicated by war and politics; but a love that, in the end, saves his characters and redeems them.”
“A super-subtle, super-delicate, and super-devastating story of two narrators’ journeys in love and selfhood . . . Mengestu’s narration and the finely arranged details about character are placed just so—quietly, determinedly . . . This read feels that All Our Names catches the people in the act of trying and failing to be certain about one another, but loving in spite of the uncertainty.”
“Elegiac, moving . . . Mengestu is alert to the nuances of what transplantation and exile can do to the spirit . . . As in a V.S. Naipaul story, neither the country nor the time matter much in a tale about human universals, in this case the universal longing for justice and our seemingly universal inability to achieve it without becoming unjust ourselves . . . Another superb story by Mengestu, who is among the best novelists now at work in America.”
—Kirkus Reviews (starred review)
“Mengestu portrays the intersection of cultures experienced by the immigrant with unsettling perception . . . He evokes contrasting landscapes but focuses on his characters—Isaac, the saddened visionary; Isaac, the secretive refugee; Helen, the sympathetic lover—who are all caught in a cycle of connection and disruption, engagement and abandonment, hope and disillusion.”
—Publishers Weekly (starred review, Pick of the Week)
“An elegiac love story . . . Split across two narratives—one in the past, one in the present—All Our Names dramatizes the clashes between romantic idealism and disillusioned practicality, as well as between self-preservation and violence, all while blurring the identities of those who can move on, those who stay behind, and those who simply change.”
—The Millions, “Most Anticipated: The Great 2014 Book Preview”
“The author highlights the dense slums of Kampala with the same intensity as he does the flatness of his midwestern farm town. But Mengestu is less interested in photographing a particular historical moment than he is fascinated by the dangers each setting imposes upon his vulnerable protagonists and their fragile relationships. And in the end, despite the bleak settings, tenderness somehow triumphs.”
"I came for the writers and stayed for the war," says one of the narrators in this latest book from Mengestu (How To Read the Air), which in its focused and lean, beautiful writing is his best book yet. Mengestu blends this narrator's story of an African homeland rent by warfare he helped foment with that of Helen, the social worker with whom he becomes involved after escaping to America. Through his characters, the author examines Africa's plight (paralleled by continuing racism in America), the risks of revolution, the lure of power, and, especially, the enduring strength of love. Our young man in Africa has arrived in the city from the hinterlands, eager for an education. He learns something very different from what he expected when he meets the charismatic Isaac, who stirs an uprising at the university (where he isn't even registered) and finally pulls his new friend into a rebellion that turns shockingly bloody, sometimes hurting those it would help. Woven into the story of this essential friendship is the socially reticent Helen's fierce and touching involvement with the client she knows as Isaac. VERDICT A highly recommended read that's as absorbing as it is thought-provoking; the ending is a real punch. [See Prepub Alert, 9/9/13.]—Barbara Hoffert, Library Journal
What's in a name? Identity of a kind, perhaps, but nothing like stability, and perhaps nothing like truth. So Mengestu (How to Read the Air, 2010, etc.) ponders in this elegiac, moving novel, his third. Himself an immigrant, Mengestu is alert to the nuances of what transplantation and exile can do to the spirit. Certainly so, too, is his protagonist—or, better, one of two protagonists who just happen to share a name, for reasons that soon emerge. One narration is a sequence set in and around Uganda, perhaps in the late 1960s or early 1970s, in a post-independence Africa. (We can date it only by small clues: Rhodesia is still called that, for instance, and not Zimbabwe.) But, as in a V.S. Naipaul story, neither the country nor the time matter much in a tale about human universals, in this case the universal longing for justice and our seemingly universal inability to achieve it without becoming unjust ourselves. The narrator, riding into the place he calls "the capital," sheds his old identity straightaway: "I gave up all the names my parents had given me." Isaac, whom he meets on campus, is, like him, a would-be revolutionary, and in that career trajectory lies a sequence of tragedies, from ideological betrayals to acts of murder. The region splintering, their revolution disintegrating, Isaac follows the ever-shifting leader he reveres into the mouth of hell. Meanwhile, Isaac—the name now transferred, along with a passport—flees to the snowy Midwest, where he assumes the identity of an exchange student, marked by a curious proclivity for Victorian English: "I remember thinking after that first afternoon that I felt like I was talking with someone out of an old English novel," says the caseworker, Helen, with whom he will fall in love. Neither Isaac can forget the crimes he has witnessed and committed, and the arc of justice that each seeks includes personal accountability. Redemption is another matter, but both continue the fight, whether in the scrub forest of Africa or at a greasy spoon somewhere along the Mississippi River. Weighted with sorrow and gravitas, another superb story by Mengestu, who is among the best novelists now at work in America.
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Read an Excerpt
When I met Isaac, I was almost what my mother would have called “a woman of a certain age.” That in her mind made me vulnerable, though I never felt that way, not even as a child growing up in a house where it would have been much easier to be a boy. My mother was a whisperer. She spoke in soft tones, in case my father was upset or had entered one of his dark moods, a habit which she continued after he had left. We lived in a quiet, semi- rural Midwestern town, and decorum for her was everything. What mattered most was that the cracks that came with a family were neatly covered up, so that no one knew when you were struggling to pay the mortgage, or that your marriage was over long before the divorce papers were signed. I think she expected that I would speak like her—and maybe when I was very small I did, but my instincts tell me that, more likely than not, this was never the case. I could never have been a whisperer. I liked my voice too much. I rarely read a book in silence. I wanted to hear every story out loud, so I often read alone in our backyard, which was large enough that if I yelled the story at the top of my voice, no one in the house closest to us could hear me. I read out there in the winter, when the tree branches sagged with ice and the few chickens we owned had to be brought into the basement so they wouldn’t freeze to death. When I was older, and the grass was almost knee-high because no one bothered to tend to it anymore, I went back there with a book in my hand simply to scream.
That Isaac said he didn’t mind if I raised my voice was the first thing I liked about him. I had driven nearly three hours, across multiple county lines and one state line, to pick him up as a favor to my boss, David, who had explained to me earlier that morning that, although, yes, tending to foreigners, regardless of where they came from, wasn’t a normal part of our jobs, he had made an exception for Isaac as a favor to an old friend, and now it was my turn to do the same.
I was happy to take Isaac on. I had been a social worker for five years and was convinced I had already spent all the good will I had for my country’s poor, tired, and dispossessed, whether they were black, white, old, fresh from prison, or just out of a shelter. Even the veterans, some of whom I had gone to high school with, left me at the end of a routine thirty-minute home visit desperate to leave, as if their anguish was contagious. I had lost too much of the heart and all the faith needed to stay afloat in a job where every human encounter felt like an anvil strung around my neck just when I thought I was nearing the shore. We were, on our business cards and letterhead, the Lutheran Relief Services, but there hadn’t been any religious affiliation—not since the last Lutheran church for a hundred miles shut down at the start of World War II and all of its parishioners were rechristened as Methodists.
It was common among the four of us in the office to say that not only were we not Lutheran, but we didn’t really provide any services, either. We had always run on a shoestring budget, and that string was nipped an inch or two each year as our government grants dried up, leaving us with little more than a dwindling supply of good intentions and promises of better years to come. David said it first and most often: “We should change our name to ‘Relief.’ That way, when someone asks what you do, you can say, ‘I work for Relief.’ And if they ask you relief from what, just tell them, ‘Does it really matter?’ ”
Mildly bitter sarcasm was David’s preferred brand of humor. He claimed it was a countermeasure to the earnestness that supposedly came with our jobs.
I knew little about Isaac before I met him, except that he was from somewhere in Africa, that his English was most likely poor, and that the old friend of David’s had arranged a student visa in order for him to come here because his life may or may not have been in danger. I wasn’t supposed to be his social worker so much as his chaperone into Middle America—his personal tour guide of our town’s shopping malls, grocery stores, banks, and bureaucracies. And Isaac was going to be, for at least one year, my guaranteed Relief. He was, in my original plans, my option out of at least some of our dire weekly budget meetings and the mini- mum of two hospital visits a month; last and most important, he secured my right to refuse to take on any new clients who were terminally ill. I had been to twenty-two funerals the year before, and though most were strangers to me when they passed, I felt certain my heart couldn’t take much more.
My first thought when I saw Isaac was that he was taller and looked healthier than I expected. From there, I worked my way backward to two assumptions I wasn’t aware of possessing: the first that Africans were short, and the second that even the ones who flew all the way to a small college town in the middle of America would probably show signs of illness or malnutrition. My second thought—or third, depending on how you counted it—was that “he wasn’t bad-looking.” I said those same words to myself as a test to measure their sincerity. I felt my little Midwestern world tremble just a bit under the weight of them.
Isaac and I had known each other for less than an hour when he told me he didn’t mind if I sometimes shouted; I had already apologized for being late to meet him, and for failing to have a sign with his name on it when I arrived. Later, in the car, I apologized for driving too fast, and then, once we arrived in town, I apologized for my voice.
“I’m sorry if I talk too loud,” I said. It was the only apology I had repeatedly sworn over the past ten years never to make again. The frequency with which I broke that promise never softened the disappointment I felt immediately afterward.
“You don’t have to apologize for everything,” he told me. “Talk as loud as you want. It’s easier to understand you.”
I couldn’t hug Isaac or thank him for his attempt at humor without making us feel awkward, but I wanted him to know that I wasn’t normally so easily moved, that I was a woman of joy and laughter. I tried my best to give him an animated, lively description of our town.
“It’s pronounced ‘Laurel,’ like the flower,” but I suspected that wasn’t entirely correct, so I pointed to the hulking brick factory, which, other than a grain silo, was the tallest object on the horizon.
“That used to be a bomb factory,” I said. There were rumors that it would be converted into the state’s largest shopping mall, but I wasn’t sure he knew what a mall was, so I left that out.
We drove past gas stations and fast-food restaurants clustered together every quarter-mile with nothing yet built in between them. I tried to think of something else interesting to say. I pointed to a gas station and said, “Fifteen years ago, that used to be a pig farm.” A second later, I worried that maybe he didn’t know what a pig farm was, or that maybe he thought I was bragging about our town’s pig farms to someone who had just come from a country where there were no farms, or pigs. I had to bite my cheek to keep from apologizing. When we reached the old, charming main street that used to be the heart of the town, I asked him if there was anything he’d like to see before I took him to his apartment.
“Thank you for asking,” he said. “I would like to see the university if it isn’t too much trouble.”
I looked at his hands. He had his hands palm-down on his thighs, with his back perfectly straight like a schoolboy trying to prove he was on his best behavior. I thought, Now I know what it means to be frightened stiff.
We made a quick tour of the southern half of the campus. It wasn’t the largest or most prestigious university in the state, but I always suspected it was the most beautiful. Like everyone, Isaac was impressed by the trees—hundred-year-old oaks that, especially in August, seemed more essential to the idea of the university than any of the buildings. I felt a surge of nostalgia every time I came there, and offered to take him to the library. “I would appreciate that,” he said.
We were standing in the main reading room—a wide, grand hall that a professor of mine had described as a terrible clash of Midwestern and classical taste—when I decided that, for Isaac’s sake, I’d had enough of his formal politeness. He’d been staring silently for several minutes at the wood-paneled walls lined with leather books and supported by marble columns, all of which stood on top of a thick green carpet that could have been found in any one of a hundred living rooms in town. He looked down before he stepped onto the carpet, and I could almost hear him wondering if he should take his shoes off. He was still staring at the walls in awe when I shouted to him, “How do you like America?”—not quite at the top of my voice, but definitely somewhere near it.
There were two weeks until the start of the semester, so the library was nearly empty. The few people there all turned to stare at us, and I could see a librarian on the other side of the hall slowly making her way toward me. As she did so, Isaac walked out of the room and then the library without saying a word. I began to prepare yet another series of apologies—to him, to the librarian, and, if I lost Isaac, to David. I waited until the librarian had almost reached me, before following Isaac out: to run after him, in our town, at that time, would have given the wrong impression.
Isaac hadn’t gone far. He was standing a few feet away from the front door, near the very top of the steps, with both hands tucked into his pockets, as if I had caught him in the middle of a late-afternoon stroll across campus.
“I apologize for leaving so abruptly. I didn’t understand what you were saying in there. Next time, please speak louder.”
I wanted to hug him again. There was a natural, easy charm to his words, and, more than that, forgiveness. No one else I had ever met spoke in such formal sentences. I had been told when given his file not to be offended if he didn’t speak much, since his English was most likely basic, but I remember thinking that afternoon that I felt like I was talking with someone out of an old English novel.
At the office the next day, when David asked what Isaac was like, I told him he was kind and had a nice smile and an interest- ing face, all of which was true and yet only a poor part of what I really wanted to say. David half listened to my description of Isaac. When I finished he asked me, “And what else, other than the obvious?”
“He has a funny way of speaking,” I said.
“He sounds old.”
“That’s a new one. Maybe it’s just his English.”
“No,” I said, “his English is perfect. It’s how I imagine someone talking in a Dickens novel.”
“Never read him,” he said.
And neither had I, but it was too late to admit that Dickens was merely my fall guy for all things old and English. From that day on, David and I took to calling Isaac “Dickens.” When Isaac and I went to find more furniture for his nearly empty apartment, I told David, “I’m off now to see my old chum Dickens.” In meetings, David would ask how Dickens was getting along in our quaint town, which only a decade earlier had stopped segregating its public bathrooms, buses, schools, and restaurants and still didn’t look too kindly upon seeing its races mix.
“He’s doing very, very well,” I said, in what was as close as I could come to an English accent.
A month later, after Isaac and I had spent a half-dozen nights intertwined in his bed till just before midnight, I brought him a copy of A Tale of Two Cities. He had a growing stack of books, used and borrowed, around his bed, but none, I had noticed, were by Dickens.
“A present,” I said. It was unwrapped. I held the book out to him with both hands. He smiled and thanked me without looking at the cover.
“Have you read it already?” I asked him.
“No,” he said. “But I have every intention of doing so right away.” I laughed. I couldn’t stop myself. He was so eager to please. I had to confess: “We have a nickname for you at the office. We call you Dickens.”
Only then did he look at the cover.
“Dickens,” he said.
And again I was afraid I had embarrassed him. He flipped the book over and read the description on the back and, as he did so, smiled. It was the same expression he’d had on his face when I found him on the library steps.
“I could do much worse here than that,” he said.
What Isaac and I never had was a proper start to our relationship. We missed out on the traditional rituals of courtship and awkward dinners that most couples use to measure the distance they’ve traveled from restaurant to bedroom. No one watched us draw closer, and no one was there to say that we made for a great or poorly matched couple. The first time Isaac placed his lips on mine was in his apartment after I had shown up unannounced to check on him. He had been in town for two weeks, and we already had a routine established. I picked him up from his apartment every other day at 4 p.m. In the beginning, our afternoons were spent primarily doing errands. I drove Isaac to the grocery store, bank, and post office.
I spent an afternoon waiting with him for the telephone company to arrive, and when it came to furniture, I was the one who picked out the couch, coffee table, and dresser from the Goodwill store two towns away.
Isaac told me he knew how to cook, but not in America.
“The eggs here are different,” he said. “They are white, and very big. And I don’t understand the meat.”
And so I taught him what few domestic acts I had learned from my mother. I taught him how to choose the best steaks for his money from the grocery store. I held a package of discounted beef next to my face for contrast and said, “See those pockets of fat? That’ll keep it from drying out,” and told him that if he had any doubts he should smother it in butter. Eggs, I told him, were an entirely different matter. “I hate them. You’ll have to find a better woman than me for that,” I said.
I knew that part of the reason I had been given this job was that David assumed that it would play to my motherly instincts, and that, as the only woman in the office without a family, I had the time. I never had those instincts, however. I watched friends from high school and college grow up, get married, and have children, and the most I had ever thought about that was “That could be nice.” My mom had been that kind of mother, and if Isaac had been from Wyoming, I could have dropped him off at her house the day he arrived and never thought of him again until it was time for him to leave.
“She would have made you fat,” I told him. “And the only thing you probably would have ever heard out of her was a list of what was in the refrigerator and what time you could expect to eat.”
That kiss happened September 3, in the doorway between his living room and bedroom, just after we had returned to his apartment from buying silverware and plates. He was on his way to the bedroom and I was leaving the bathroom when we collided in the hallway, which was wide enough for only one person to pass at a time. Forced to stand face to face, what could we do but smile?
“Do you live here as well?” Isaac asked me.
“I do now,” I said, and, without thinking, we leaned toward each other, me up and him down, until our lips met. We kissed long enough to be certain it wasn’t an accident. When we opened our eyes and separated, what we felt wasn’t surprise so much as relief that our first moment of intimacy felt so ordinary—almost habitual, as if it had been part of our routine for years to kiss while passing.
I was late getting back to my office, but had I not been, I would still have wanted to leave on a dramatic note. I grabbed my jacket and thought of walking forcefully out the door, stopping for one final, brief kiss, but once I was close to him, I wanted to press my nose into the crook of Isaac’s neck so I could smell him, and that was exactly what he let me do.
“You are like a cat,” he said.
“You smell like onions,” I told him.
He craned his neck around mine. We held that pose for at least a minute, at which point I pulled away so I wouldn’t have to worry about him doing so. When I was back in his apartment two days later, I walked from room to room as soon as I entered. Isaac asked me what I was doing. I took his hand and pinched the flesh between his thumb and index finger before wrapping my arms around him. “I’m making sure you’re really here,” I said. He lifted my chin up to his lips and kissed me quickly.
“Does that help?” he asked. It did, but it wasn’t enough. Compared with others, Isaac was made of almost nothing, not a ghost but a sketch of a man I was trying hard to fill in.
I nudged him backward until we landed on the couch. I felt his legs trembling; I was relieved to know he was nervous.
“I’m still not convinced,” I said. My doubt became the cover story we needed to take each other apart. Isaac kissed my neck, and in return, I took off his shirt and placed his hands on the bottom of my blouse so he knew he should do the same. I kissed his chest and he kissed mine. Once we were undressed, he asked, “And what about now?”
I raised my hips and pulled him inside me.
“I’m almost convinced,” I said. His right leg never stopped trembling. Knowing he was afraid made me want to hold on to him that much harder, and I thought if I did so, with time I could help color in the missing parts.
With no outside world to ground us, every moment of intimacy that passed between Isaac and me did so in an isolated reality that began and ended on the other side of his apartment door. I had never had a relationship with a man like that, but I under- stood how easily the tiny world Isaac and I were slowly building could vanish.
“I am dependent on you for everything,” he often said during our first two months together. He said it sometimes as a joke, sometimes out of anger. He could say it if I had just told him where his glasses were, or if I had taken his clothes out of the washing machine and hung them to dry because I knew he had a habit of leaving them in the washer overnight, and it would be affectionate and charming and made me think that it wouldn’t be so bad to fall in love with a man like this, who noticed the small things you did for him and found a way to say thank you without making you feel like his mother. At other times, he said the same words and all I heard was how much he hated saying them, and how much he might have hated me, at least in those moments, as well.
The list of things he was dependent upon me for grew larger the longer he stayed in our town. In the beginning he needed me only to do my job: to help get him from one point to another, since he had no car or license; to explain basic things, like when and when not to dial 911. Later on, he needed me to sit with him quietly in the dark and hold his hand as he mourned the loss of someone he loved. Once, he called me at work and asked me to leave the phone on the desk, just so he could hear other people talking. He didn’t always know how to fill his days. He had his books—dense historical works and biographies along with a smaller collection of romance novels that he kept hidden under his bed. He read obsessively. When I asked him why, he said it was “to make up for all the lost time,” because he had never had access to libraries like ours until now; but I suspected it had as much to do with not knowing what to do with all those long empty hours. Isaac had none of the good or the bad that came with living in such close, sustained contact with your past. If there was any- thing I pitied him for, it was the special loneliness that came with having nothing that was truly yours. Being occasionally called “boy” or “nigger,” as he was, didn’t compare to having no one who knew him before he had come here, who could remind him, simply by being there, that he was someone else entirely.
Meet the Author
Dinaw Mengestu is the award-winning author of two novels, The Beautiful Things That Heaven Bears (2007) and How to Read the Air (2010). He is a graduate of Georgetown University and of Columbia University’s M.F.A. program in fiction and the recipient of a 5 Under 35 award from the National Book Foundation and a 20 Under 40 award from The New Yorker. His journalism and fiction have appeared in such publications as Harper’s Magazine, Granta, Rolling Stone, The New Yorker, and The Wall Street Journal. He is a recipient of a 2012 MacArthur Foundation genius grant and currently lives in New York City.
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Most Helpful Customer Reviews
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All Our Names was a great story and well written. The book told the story from two perspectives and in two different times. A sheltered American woman told the story of how the couple met and their relationship in the early 1970's mid west. At the same time, the African man told the story of his experiences in a revolution in Africa with his best friend before he came to the midwest United States. So while we are seeing how difficult interracial relationships once were and the subtleties of hatred and bigotry at that time in the U.S., we are seeing the brutality of an African revolution and the violence and death caused by it. The switching back and forth between times and perspectives was well done. It brought the two worlds, which are so different and yet exist at the same time, together in a way that is always true but still difficult to believe when you have only really seen or lived in one of these worlds. The story also illustrates that the desires of the people in these two worlds is the same: peace, security, education, acceptance, etc. It really was a beautiful book. I didn't love the reading by the character Helen when she did the male voices, particularly the voice of "Isaac". The voice was so well done by the male reader that when she did it it just sounded silly (which is why this is four or four and a half stars if that were possible here). Other than that, it's a great book and well worth the time to listen. Thanks to Library Things Early Reviewers for the chance to hear it!
As you're reading AON, you believe you're reading a story plot made up of remarkably sparse information--a few characters, few story plots, etc. But you get to the end and turn the last page and realize how profound a novel you've just completed and wonder, "What kind of sorcery is this?"
It was O.K., not exciting, but not terrible. I think the author gets you to hang on by not telling you the real name of "Isaac," so I will save you the suspense, he never does. The characters seemed shallow to me, as in not fully realized. If you are dying to read a novel about Africa that is short and not very challenging go for it, otherwise, meh.
Walks out normally