Winner of the Arab American Book Award in Fiction
Finalist for the Kirkus Prize in Fiction
Finalist for the California Book Award
Longlisted for the Aspen Words Literary Prize
A Los Angeles Times bestseller
Named a Best Book of the Year by The Washington Post, Time, NPR, Minneapolis Star Tribune, Dallas Morning News, The Guardian, Variety, and Kirkus Reviews
Late one spring night in California, Driss Guerraoui—father, husband, business owner, Moroccan immigrant—is hit and killed by a speeding car. The aftermath of his death brings together a diverse cast of characters: Guerraoui's daughter Nora, a jazz composer returning to the small town in the Mojave she thought she'd left for good; her mother, Maryam, who still pines for her life in the old country; Efraín, an undocumented witness whose fear of deportation prevents him from coming forward; Jeremy, an old friend of Nora’s and an Iraqi War veteran; Coleman, a detective who is slowly discovering her son’s secrets; Anderson, a neighbor trying to reconnect with his family; and the murdered man himself.
As the characters—deeply divided by race, religion, and class—tell their stories, each in their own voice, connections among them emerge. Driss’s family confronts its secrets, a town faces its hypocrisies, and love—messy and unpredictable—is born. Timely, riveting, and unforgettable, The Other Americans is at once a family saga, a murder mystery, and a love story informed by the treacherous fault lines of American culture.
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|Publisher:||Knopf Doubleday Publishing Group|
|Product dimensions:||6.20(w) x 9.30(h) x 1.30(d)|
About the Author
*** WINNER OF THE 2019 SIMPSON/JOYCE CAROL OATES PRIZE ***
LAILA LALAMI is the author of The Other Americans, Hope and Other Dangerous Pursuits; Secret Son; and The Moor’s Account, which won the American Book Award, the Arab American Book Award, and the Hurston/Wright Legacy Award, and was a finalist for the Pulitzer Prize. Her essays have appeared in The New York Times, the Los Angeles Times, The Washington Post, The Nation, Harper’s Magazine, and The Guardian. A professor of creative writing at the University of California at Riverside, she lives in Los Angeles.
Read an Excerpt
My father was killed on a spring night four years ago, while I sat in the corner booth of a new bistro in Oakland. Whenever I think about that moment, these two contradictory images come to me: my father struggling for breath on the cracked asphalt, and me drinking champagne with my roommate, Margo. We were celebrating because Margo had received a grant from the Jerome Foundation to work on a new chamber piece, her second big commission that year. We’d ordered steamed mussels and shared an entrée and lingered late into the night. The waiter was trying to convince us to get the chocolate mousse for dessert when my phone rang.
I have no clear memory of what happened next. I must have told Margo the news. We must have paid the bill, put on our coats, walked the five blocks back to our apartment. A bag was packed, somehow. But I do remember driving home on the 5 freeway, in the foggy darkness that cloaked almond groves and orange orchards, all the while dreaming up alternate explanations: perhaps the sheriff’s department had misidentified the body, or the hospital had swapped my father’s records with someone else’s. These possibilities were far-fetched, I knew, and yet I clung to them as I drove. Under my headlights, I could see only twenty feet ahead. But the fog lifted at dawn, and by the time I reached the Mojave, the sun was out and the sky a brazen blue.
All I could hear when I stepped into my parents’ house were my heels on the travertine floor. There was a copy of Reader’s Digest on the console, a set of keys on a yellow wrist coil, and a pair of sunglasses with a missing lens. One of the framed photos on the hallway wall was askew. In the living room, my mother sat on the sofa, staring at the cordless phone in her hand as though she couldn’t remember how to use it. “Mom,” I called, but she didn’t look up. It was as if she couldn’t hear me. She was still in the white shirt and black gi from her karate class the night before. Across the ottoman, the jacket of her uniform lay in a heap, the dragon appliquéd on its back a startling red.
It seemed to me then that my father was still with us—in the half-empty packet of Marlboros on the windowsill, the frayed slippers under the coffee table, the tooth marks on the pencil that stuck out from the book of crossword puzzles. Any moment now, he would walk in, smelling of coffee and hamburgers, saying, You won’t believe what a customer told me this morning, and then, seeing me standing by the armchair, call out, Nora! When did you get here? His eyes would gleam with delight, he would kiss me on the cheeks, the stubble on his chin would tickle me, and I would say, Now. I just got here now.
But the doorway remained empty, and pain kicked me in the stomach. “I don’t understand,” I said, though what I meant was that I didn’t believe. Disbelief had been the only constant since I’d heard the news. “I just talked to him yesterday.”
My mother stirred, finally. She turned to me, and I saw that her eyes were rimmed with red and her lips cracked. “You talked to him?” she said, not without surprise. “What did he say?”
From the hallway came the rattle of the mailbox slot and the thump of the mail as it hit the floor. In its wicker basket, the cat raised its head, then went back to sleep.
“What did he say?” she asked again.
“Nothing. He said he wanted to chat with me for a bit, but I had to go teach and I wanted to get a cup of coffee in the few minutes I had left on my break. I told him I’d call him back later.” My hand flew to my mouth. I could have talked to him one more time, heard the care in his voice, and yet I had squandered the chance. And all for some bitter coffee in a paper cup, hastily consumed before confronting a class of bored prep-school kids making their way through The Odyssey.
A motorcycle roared up the street and the windows shuddered. Nervously I undid the folding clasp on my watch and clicked it back in place. Then a grim silence fell on the room again. “What was Dad doing at the restaurant so late?” I asked. “Doesn’t Marty usually close up?”
“He wanted to install new lights he bought, so he told Marty to go home.”
And then what? He must have locked up the restaurant and walked out. Maybe he was jiggling his keys in his hands, the way he always did when he was lost in thought, or maybe he was distracted by a text on his cell phone. Either way, he didn’t hear or see the car barreling down on him until it was too late. Had he suffered? Had he called out for help? How long had he lain on the asphalt before his breath ran out? Unbidden, a memory came to me of a summer party at the neighbors’ house when I was four years old. They’d recently remodeled their backyard, and were showing off their new barbecue pit and seating nook to my parents. My sister ditched me; she was ten and wanted to play with the older kids. I started chasing after a pair of dragonflies, but just as my fingers closed around one of them, I fell into the pool. The water was icy and tasted like almonds. It drew me to the bottom with such force that I felt I would never draw another breath again. I was in the pool for only an instant before my father dove in after me, but in that instant my limbs froze, my chest burned, my heart nearly stopped. That pain came back to me now. “Something doesn’t seem right,” I said after a moment. “The one time Dad stays for close, he gets run over and killed?”
I realized too late that I had said the wrong thing, or used the wrong word. My mother began to weep. Loud, unguarded sobs that made her face flush and her shoulders heave. I crossed the living room, moved the rolled-up prayer mat out of the way, and sat beside her, holding her so close that I could feel her tremors. Everything about this moment felt strange to me—being in this house on a weekday in spring, wearing my shoes indoors, even comforting my mother as she cried. In my family, my father was the consoler. It was to him I came first whenever something bad happened to me, whether it was scraping my knee on the monkey bars when I was eight, or losing another composer competition just a month earlier.
My mother wiped her nose with a crumpled tissue. “I knew something was wrong when I came back from your sister’s house. I went there to drop off karate patches for the children, and she asked me to stay for dinner. Then I came home, and he wasn’t here.”
Yet the armchair where my father usually sat still bore the imprint of his body. It was as if he were only in the next room.
“What did the police say?” I asked. “Do they have a lead?”
“No. The detective just asked a lot of questions. Did he have money troubles, did he use drugs, did he gamble, did he have enemies. Like that. I said no.”
I remember being puzzled by these questions, which were so different from those that swirled around in my head: who was driving the car and how did they hit him and why did they flee the scene? Then my gaze was drawn to the window. Outside, two blackbirds landed one after the other on the electric wire. The neighbor across the street was deflating the giant Easter bunny that had sat for weeks in his front yard, gathering dust. It stared back with grotesque eyes as its white ears collapsed under his shoes. The wind whipped the flag on the pole, and the sun beat down without mercy.
Reading Group Guide
“It’s a combo love story, mystery, and literary exploration of immigration in America.” —Nicholas Kristof
The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of The Other Americans by Laila Lalami. It is a timely and powerful novel about the suspicious death of a Moroccan immigrant that is at once a family saga, a murder mystery, and a love story, all of it informed by the treacherous fault lines of American culture.
1. The Other Americans explores themes of immigration, community, and identity. Discuss each of these topics with relation to The Other Americans. How is it a novel of immigration? And community? How do these connect to identity?
2. How is The Other Americans a novel about storytelling and the importance of stories, everyone’s stories? And the importance of telling and listening to stories?
3. Why do you think Lalami tells this story using many different voices and writing in the first person for each voice? And why does she turn to the second person for Salma’s chapter? How does this affect your reading? How do you relate to the various characters?
4. Nora is a composer who loves music and sees music as colors. How does this affect how she views the world and interacts with other? Do you think she is more sensitive than other people?
5. Throughout much of the novel, Jeremy is filled with nostalgia for Nora in high school. She was kind to him after his mother died and his father fell apart. Compare and contrast the Jeremy in high school with Jeremy the ex-Marine and policeman.
6. Both Jeremy and his friend Fierro fought in Iraq. How do they separately deal with the trauma from that time? How does it affect their relationships with women and with each other? Do you think Fierro will ever recover from fighting in the war?
7. How is A. J.’s voice and story important to the novel? How do his bullying and racist comments connect with his fierce devotion to dogs and to his mother?
8. “Lalami captures the complex ways humans can be strangers not just outside their ‘tribes’ but within them, as well as to themselves.”(Publishers Weekly, starred review) How has Nora been a stranger to herself? Is it because, as her mother says, she has her “head in the clouds” (p. 17)? Why does she have a tattoo on her wrist reading “a voice crying out” (p. 93)? Has she been running away from herself and chasing something that isn’t necessarily what she needs/wants? How does she find her way home?
9. Nora’s mother, Maryam, moves to the United States from Morocco, away from her parents and extended family, and feels “it was like being orphaned” (p. 31). In the United States, she says, “All I ever wanted was to keep my family together.” (p. 79). How does Maryam keep the family together and the family narrative intact?
10. How does Nora’s relationship with her mother evolve over the course of the novel? Why?
11. “How strange the work of memory . . . what some people remembered and others forgot.” (p. 138) Comment on this quote in relation to the novel as a whole.
12. Everyone in the novel is an outsider in some way. How? Discuss each of the characters and their place as outsider or “other,” whether it is by race, religion, or class.
13. How is this a general tale of our time and a story specific to its place, Southern California? Describe the setting. How does nature (and in particular the Mojave Desert and the Joshua Tree National Park), play a part in the novel?
14. The Other Americans begins with a death and ends, in a way, with a birth and a rebirth. Why do you think Lalami has ended her novel with a pregnant Nora?
15. “Home was wide-open spaces, pristine light, silence that wasn’t quite silence. Home, above all, was the people who loved me.” (p. 301) How does this novel revolve around home? Noticing home, returning home, discovering home, creating home? Discuss several of the characters’ relationships to home. How are Nora’s and her mother’s connection to home both similar and different? How about Coleman's and Efraín’s? And how about Jeremy and Fierro?
16. Despite both being immigrants, how and why are Driss’s and Efraín’s lives and roles in the town different?
17. The love story between Nora and Jeremy is central to the novel. What does it take for Nora to open up to his love and to accept her love for him?
18. Discuss the differences between the two Guerraoui sisters. What are their similarities and differences? How have their lives taken different paths since graduating from high school and leaving home: where and how they live, what professions they have, what kind of partner they gravitate toward?
19. “Stories help us see the world through the eyes of others: We see what they see; we’re provoked or inspired or amused; we take sides or withhold judgment—but in the end, we find order in disorder. We make sense of the world around us through the language of stories. Reading fiction also allows us to expand the limits of our imagination and helps us develop empathy—qualities that seem to be in short supply at the moment.” (Laila Lalami in an essay in The Nation) How does this quote from Lalami dovetail with this novel? How has reading this novel (or fiction in general) opened your eyes or helped you develop empathy?