Leesfragment: The Last White Man

11 augustus verschijnt de vijfde roman van Mohsin Hamid, The Last White Man! Lees nu een fragment op onze site, en lees een fragment uit de vertaling door Saskia van der Lingen, De laatste witte man, die 25 augustus verschijnt.

From the internationally bestselling author of Exit West, a story of love, loss, and rediscovery in a time of unsettling change.

One morning, Anders wakes to find that his skin has turned dark, his reflection a stranger to him. At first he tells only Oona, an old friend, newly a lover. Soon, reports of similar occurrences surface across the land. Some see in the transformations the long-dreaded overturning of an established order, to be resisted to a bitter end. In many, like Anders's father and Oona's mother, a sense of profound loss wars with profound love.

As the bond between Anders and Oona deepens, change takes on a different shading: a chance to see one another, face to face, anew.

• ‘Gorgeously crafted . . . The Last White Man concludes on a note of hope, a door jarred open just enough to let transcendence pour through.’ — O, the Oprah Magazine
• ‘The electric premise, borrowed from Kafka's The Metamorphosis, looks set to update a classic to make it urgently relevant’ — Evening Standard

N.B. Lees ook de toelichting van Saskia van der Lingen op haar vertaling van Exit West, Fleur Speets bespreking van die roman, en fragmenten uit Exit West en Hoe word je stinkend rijk in het nieuwe Azië?.

Part One

One

One morning Anders, a white man, woke up to find he had turned a deep and undeniable brown. This dawned upon him gradually, and then suddenly, first as a sense as he reached for his phone that the early light was doing something strange to the color of his forearm, subsequently, and with a start, as a momentary conviction that there was somebody else in bed with him, male, darker, but this, terrifying though it was, was surely impossible, and he was reassured that the other moved as he moved, was in fact not a person, not a separate person, but was just him, Anders, causing a wave of relief, for if the idea that someone else was there was only imagined, then of course the notion that he had changed color was a trick too, an optical illusion, or a mental artifact, born in the slippery halfway place between dreams and wakefulness, except that by now he had his phone in his hands and he had reversed the camera, and he saw that the face looking back at him was not his at all.
Anders scrambled out of his bed and began to rush to his bathroom, but, calming himself, he forced his gait to slow, to become more deliberate, measured, and whether he did this to assert his control over the sit uation, to compel reality to return through sheer strength of mind, or because running would have frightened him more, made him forever into prey being pursued, he did not know.
The bathroom was shabbily but comfortingly familiar, the cracks in the tiles, the dirt in the grouting, the streak of dried toothpaste drip on the outside of the sink. The interior of the medicine cabinet was visible, the mirror door askew, and Anders raised his hand and swung his reflection into place before his eyes. It was not that of an Anders he recognized.
He was overtaken by emotion, not so much shock, or sorrow, though those things were there too, but above all the face replacing his filled him with anger, or rather, more than anger, an unexpected, murderous rage. He wanted to kill the colored man who confronted him here in his home, to extinguish the life animating this other’s body, to leave nothing standing but himself, as he was before, and he slammed the side of his fist into the face, cracking it slightly, and causing the whole fitting, cabinet, mirror, and all, to skew, like a painting after an earthquake has passed.
Anders stood, the pain in his hand muted by the intensity that had seized him, and he felt himself trembling, a vibration so faint as barely to be perceptible, but then stronger, like a dangerous winter chill, like freezing outdoors, unsheltered, and it drove him back to his bed, and under his sheets, and he lay there for a long while, hiding, willing this day, just begun, please, please, not to begin.

*

Anders waited for an undoing, an undoing that did not come, and the hours passed, and he realized that he had been robbed, that he was the victim of a crime, the horror of which only grew, a crime that had taken everything from him, that had taken him from him, for how could he say he was Anders now, be Anders now, with this other man staring him down, on his phone, in the mirror, and he tried not to keep checking, but every so often he would check again, and see the theft again, and when he was not checking there was no escaping the sight of his arms and his hands, dark, moreover frightening, for while they were under his control, there was no guarantee they would remain so, and he did not know if the idea of being throttled, which kept popping into his head like a bad memory, was something he feared or what he most wanted to do.
He attempted, with no appetite, to eat a sandwich, to be calmer, steadier, and he told himself that it would be all right, although he was unconvinced. He wanted to believe that somehow he would change back, or be fixed, but already he doubted, and did not believe, and when he questioned whether it was entirely in his imagination, and tested this by taking a picture and placing it in a digital album, the algorithm that had, in the past, unfailingly suggested his name, so sure, so reliable, could not identify him.

[…]

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