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Teju Cole

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“In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness.”

“It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.”

“I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully.”