No one is talking about this

Patricia Lockwood

Book - 2021

"From "a formidably gifted writer" (The New York Times Book Review), a book that asks: Is there life after the internet? As this urgent, genre-defying book opens, a woman who has recently been elevated to prominence for her social media posts travels around the world to meet her adoring fans. She is overwhelmed by navigating the new language and etiquette of what she terms "the portal," where she grapples with an unshakable conviction that a vast chorus of voices is now dictating her thoughts. When existential threats--from climate change and economic precariousness to the rise of an unnamed dictator and an epidemic of loneliness--begin to loom, she posts her way deeper into the portal's void. An avalanche of i...mages, details, and references accumulate to form a landscape that is post-sense, post-irony, post-everything. "Are we in hell?" the people of the portal ask themselves. "Are we all just going to keep doing this until we die?" Suddenly, two texts from her mother pierce the fray: "Something has gone wrong," and "How soon can you get here?" As real life and its stakes collide with the increasingly absurd antics of the portal, the woman confronts a world that seems to contain both an abundance of proof that there is goodness, empathy, and justice in the universe, and a deluge of evidence to the contrary"--

Saved in:

1st Floor Show me where

FICTION/Lockwood, Patricia
3 / 3 copies available
Location Call Number   Status
1st Floor FICTION/Lockwood, Patricia Checked In
1st Floor FICTION/Lockwood, Patricia Checked In
1st Floor FICTION/Lockwood, Patricia Checked In
Subjects
Genres
Novels
Published
New York : Riverhead Books 2021.
Language
English
Main Author
Patricia Lockwood (author)
Physical Description
210 pages ; 22 cm
ISBN
9780593189580
Contents unavailable.
Review by Booklist Review

In this first novel from poet and memoirist Lockwood (Priestdaddy, 2017), an unnamed woman practically lives in "the portal," which is something like the internet. A viral post--"Can a dog be twins?"--lent her "a certain airy prominence," and now she speaks about the portal on panels all over the world. On the top of a Ferris wheel in Vienna, she receives a text that sends her back home to Ohio: concerning information has appeared late in her younger sister's pregnancy. So begins the book's part two, and the first stirrings of a conventional plot. Lockwood's narration of the woman's thoughts propels this provocative, addictive, and unusual novel. The book's first half is filled with her darkly irreverent, mordant musings on the portal and how it got to this, a screen-addled situation that sounds much like our own. After the revelation, though, the scroll of posts and memes is replaced by another unfathomable yet recognizable place, one of sickness, doctors' best guesses, and a crystalline hope for survival; it's like a stream rushing to an ocean. With unfettered, imagistic language, Lockwood conjures both a digital life that's easily fallen into, and the sorts of love and grief that can make it all fall away.

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Lockwood's debut novel comes packed with the humor, bawdiness, and lyrical insight that buoyed her memoir Priestdaddy. The unnamed narrator--made famous by a viral post that read, "Can a dog be twins"--travels the world to speak on panels, where she explains such things as why it's better to use the spelling "sneazing" (it's "objectively funnier"). While in Vienna for a conference, her mother urges her to come home to Ohio, where the narrator's younger sister is having complications with her pregnancy and may need a late-term abortion. There, in the book's shimmering second half, the internet jokes continue between the sisters as a means of coping with uncertainty, and resonate with the theme of life's ephemerality vs. the internet's infinitude. Throughout, a fragmented style captures and sometimes elevates a series of text messages and memes amid the meditations on family ("I'm convinced the world is getting too full lol, her brother texted her, the one who obliterated himself at the end of every day with a personal comet called Fireball"). This mighty novel screams with laughter just as it wallops with grief. Agent: Mollie Glick, Creative Arts Agency. (Feb.)

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Having suddenly gained fame on social media, a woman traveling worldwide to meet her worshipful fans comes to believe that all the voices bubbling up from this vast portal, as she calls it, are dictating her thoughts. Then she gets an urgent call from her mother, as stark reality and internet-fueled surreality collide. From the author of the memoir Priestdaddy, a New York Times best book.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

Debut novel from the internet-famous poet and author of the memoir Priestdaddy (2017). Lockwood first made a name for herself on Twitter: "@parisreview So is Paris any good or not." Such was the acclaim of this 2013 tweet that the Paris Review felt compelled to respond to it--a year after it was first posted--with a review of Paris. In 2013, Lockwood achieved a new level of web-based fame when "Rape Joke" went viral. This poem seems, in retrospect, to have been perfectly calibrated for a moment when people--mostly young or youngish, largely online--were asking themselves who gets to talk about what and how. But it also succeeds--and continues to succeed--as a work of literature. All of this is to say that Lockwood is very much of the internet but also, perhaps, our guide to moving beyond thinking of the internet as a thing apart from real lives and real art. Her debut novel is divided into two parts. The first introduces us to a nameless protagonist who makes up famous tweets and composes blog posts and turns this into a career traveling the world talking about tweets and blog posts. In the second part, this character goes back to her family home when she learns that the baby her sister is carrying has a profound congenital disorder. The first part is written in short little bursts that feel like Instagram captions or texts--but if Lydia Davis was writing Instagram captions and texts. The second part is written in short little bursts that feel like they're being written in spare moments snatched while caring for an infant. (Again, Lydia Davis comes to mind.) This bifurcation mirrors the protagonist's own meditations on the difference between the life that she chooses online and the life that comes crashing in on her, but it's a mistake to imagine that this novel is simply an indictment of the former and a celebration of the latter. The woman at the center of this novel doesn't trade ironic laughter for soul-shattering awe so much as she reveals that both can coexist in the same life and that, sometimes, they may be indistinguishable. An insightful--frequently funny, often devastating--meditation on human existence online and off. Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Part One She opened the portal, and the mind met her more than halfway. Inside, it was tropical and snowing, and the first flake of the blizzard of everything landed on her tongue and melted. Close-ups of nail art, a pebble from outer space, a tarantula's compound eyes, a storm like canned peaches on the surface of Jupiter, Van Gogh's The Potato Eaters, a chihuahua perched on a man's erection, a garage door -spray-painted with the words STOP! DON'T EMAIL MY WIFE! Why did the portal feel so private, when you only entered it when you needed to be everywhere? She felt along the solid green marble of the day for the hairline crack that might let her out. This could not be forced. Outside, the air hung swagged and the clouds sat in piles of couch stuffing, and in the south of the sky there was a tender spot, where a rainbow wanted to happen. Then three sips of coffee, and a window opened. I'm convinced the world is getting too full lol, her brother texted her, the one who obliterated himself at the end of every day with a personal comet called Fireball. Capitalism! It was important to hate it, even though it was how you got money. Slowly, slowly, she found herself moving toward a position so philosophical even Jesus couldn't have held it: that she must hate capitalism while at the same time loving film montages set in department stores. Politics! The trouble was that they had a dictator now, which, according to some people (white), they had never had before, and according to other people (everyone else), they had only ever been having, constantly, since the beginning of the world. Her stupidity panicked her, as well as the way her voice now sounded when she talked to people who hadn't stopped being stupid yet. The problem was that the dictator was very funny, which had maybe always been true of all dictators. Absurdism, she thought. Suddenly all those Russian novels where a man turns into a teaspoonful of blackberry jam at a country house began to make sense. What had the beautiful thought been, the bright profundity she had roused herself to write down? She opened her notebook with the sense of anticipation she always felt on such -occasions--perhaps this would finally be it, the one they would chisel on her gravestone. It read: chuck e cheese can munch a hole in my -youknow-what After you died, she thought as she carefully washed her legs under the fine needles of water, for she had recently learned that some people didn't, you would see a little pie chart that told you how much of your life had been spent in the shower arguing with people you had never met. Oh but like that was somehow less worthy than spending your time carefully monitoring the thickness of beaver houses for signs of the severity of the coming winter? Was she stimming?? She feared very much that she was. Things that were always there: The sun. Her body, and the barest riffling at the roots of her hair. An almost music in the air, unarranged and primary and swirling, like yarns laid out in their colors waiting. The theme song of a childhood show where mannequins came to life at night in a department store. Anonymous History Channel footage of gray millions on the march, -shark-snouted airplanes, silk deployments of missiles, mushroom clouds. An episode of True Life about a girl who liked to oil herself up, get into a pot with assorted vegetables, and pretend that cannibals were going to eat her. Sexually. The almost-formed unthought, Is there a bug on me??? A great shame about all of it, all of it. Where had the old tyranny gone, the tyranny of husband over wife? She suspected most of it had been channeled into weird ideas about supplements, whether or not vinyl sounded "warmer," and which coffeemakers were nothing but a shit in the mouth of the coffee christ. "A hundred years ago you would have been mining coal and had fourteen children all named Jane," she often marveled, as she watched a man stab a finger at his wife in front of the Keurig display. "Two hundred years ago, you might have been in a coffee shop in Göttingen, shaking the daily paper, hashing out the questions of the -day--and I would be shaking out sheets from the windows, not knowing how to read." But didn't tyranny always feel like the hand of the way things were? It was a mistake to believe that other people were not living as deeply as you were. Besides, you were not even living that deeply. The amount of eavesdropping that was going on was enormous, and the implications not yet known. Other people's diaries streamed around her. Should she be listening, for instance, to the conversations of teenagers? Should she follow with such avidity the compliments that rural sheriffs paid to porn stars, not realizing that other people could see them? What about the thread of women all realizing they had the exact same scar on their knee? "I have that scar too!" a white woman piped up, but was swiftly and efficiently shut down, because it was not the same, she had interrupted an usness, the world in which she got that scar was not the same. She lay every morning under an avalanche of details, blissed, pictures of breakfasts in Patagonia, a girl applying her foundation with a -hard-boiled egg, a shiba inu in Japan leaping from paw to paw to greet its owner, ghostly pale women posting pictures of their -bruises--the world pressing closer and closer, the spiderweb of human connection grown so thick it was almost a shimmering and solid silk, and the day still not opening to her. What did it mean that she was allowed to see this? If she began to bite her lower lip, as she nearly always did after the milk and -civet-cat bitterness of her morning coffee, she went into the bathroom with the ivy growing out its bangs outside the window and very carefully painted her mouth a definite, rich, top-of-the-piano -red--as if she had an underground club to be at later that night, where she would go as bare as a missing sequin, where she would distill the whole sunset cloud of human feeling to a -six-word lyric. Something in the back of her head hurt. It was her new class consciousness. Every day their attention must turn, like the shine on a school of fish, all at once, toward a new person to hate. Sometimes the subject was a war criminal, but other times it was someone who made a heinous substitution in guacamole. It was not so much the hatred she was interested in as the swift attenuation, as if their collective blood had made a decision. As if they were a species that released puffs of poison, or black ink in a cloud on the ocean floor. I mean, have you read that article about octopus intelligence? Have you read how octopuses are marching out of the sea and onto dry land, in slick and obedient armies? "Ahahaha!" she yelled, the new and funnier way to laugh, as she watched footage of bodies being flung from a carnival ride at the Ohio State Fair. Their trajectories through the air were pure arcs of joy, T-shirts turned liquid on them, just look what the flesh could do when it gave in, right down to the surrendering snap of -the . . . "What's so hilarious," said her husband, resting sideways on his chair with his bladelike shins dangling over one arm, but by then she had scrolled down the rest of the thread and seen that someone was dead, and five others hanging half in and -half -out of the world. "Oh God!" she said as she realized. "Oh Christ, no, oh God!" At nine o'clock every night she gave up her mind. Renounced it, like a belief. Abdicated it, like a throne, all for love. She went to the freezer and opened that fresh air on her face and put fingerprints in the frost on the neck of a bottle and poured something into a glass that was very very clear. And then she was happy, though she worried every night, as you never do with knowledge, whether there would be enough. Excerpted from No One Is Talking about This: A Novel by Patricia Lockwood All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.