Over the last two decades, Teju Cole has established himself as one of the leading practitioners of what critics have come to call “autofiction.” Full of autobiographical details and multiplying selves, these novels often take subjectivity itself as their subject matter, eschewing many of the narrative techniques and structures one has come to expect from a realist novel. His first novel,
Open City, followed his protagonist as he wanders through New York City, pondering deep thoughts about art, history, and politics, much in the vein of a W.G. Sebald novel. His second novel (or, if you lived in Nigeria, his first),
Every Day Is for the Thief, did much of the same, but was set in Lagos, turning a classic prodigal son’s return story into something far more philosophical and meditative. Now, in his new novel,
Tremor, Cole’s focus is again an autofictional self, but this time, as
Tope Folarin notes in his review for Fall Books, he goes even further in divesting literature from “the trappings of fiction.” Following a character named Tunde as he goes about his everyday life, the novel “is a high-wire act, beating its own, defiant path through the weightless air.” The theme is “middle age and its protagonist’s growing awareness of the inevitability of death,” but also the impossibilities of storytelling and how our own subjectivity can get in the way of narratives. “Even as Tunde recognizes the need for narratives—especially in the face of mortality—Cole continually resists them,” Folarin writes. “Tunde might desire a story that has a beginning, a middle, and an end, but Cole is far more interested in constructing a novel that rejects such structures. Just when a story in Tremor seems to be picking up steam, Cole diverts our attention elsewhere.” Read
“Teju Cole and the Forking Paths of Autofiction”