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Imagining a life elsewhere occupies you, even as you know, if only from literature, that exile will be equally fraught. These conflicting desires frame and permeate Mohsin Hamid’s new novel, Exit West, set in an unnamed city that begins to crack under years of oppression, to the brink of civil war. The two main characters, Nadia and Saeed, meet just as a political status quo is becoming unhinged. They get to know each other in the period of transition when a city that offers relative freedoms, or at least clear boundaries on what can or cannot be done, begins to shift into territory where everything, eventually, is at stake. Walking streets, running errands, going to work, or meeting a lover becomes a gamble. At any moment a shot might be fired, a bomb may explode. Saeed is a moderately conservative employee at an agency that places outdoor advertising. A twenty- something who sports “studiously maintained stubble” and “as was the case in those days in his city with most independent- minded, grown men, unmarried, with decent posts and good educations,” he still lives with his parents, one a former schoolteacher, the other a university professor. Nadia, breaking from tradition, lives alone, in a studio atop a townhouse. An employee at an insurance company, she navigates the city on a trail bike wearing a black robe (“so men don’t fuck with me”) and a helmet—fiercely independent, and something of an anomaly. Completely cut off by her family for moving out (something they regretted “but which none of them would ever act to repair”), she learns “how best to deal with aggressive men and with the police, and with aggressive men who were the police.” While Saeed spends evenings at home with his parents, looking out at the sky even though it had “become too polluted for much in the way of stargazing,” Nadia frequents underground concerts and jam sessions. Political unrest, such as war, revolution, or even just the beginnings of civil strife, changes the very constitution of everyday life, from how we spend time, schedule our days, and move around a city to how we become sensitized to the sounds of danger. What we once knew to be a distant crackle of fireworks may be gunfire: “One’s relationship to windows now changed in the city. A window was the border through which death was possibly most likely to come.” Hamid is finely attuned to those shifts, as well as to the underpinnings of desire that remain intact even at times of upheaval, and in both sweeping and detailed strokes, his two characters become entangled against the backdrop of the city’s unraveling: It might seem odd that in cities teetering at the edge of the abyss young people still go to class—in this case an evening class on corporate identity and product branding—but that is the way of things, with cities as with life, for one moment we are pottering about our errands as usual and the next we are dying, and our eternally impending ending does not put a stop to our transient beginnings and middles until the instant when it does. Saeed noticed that Nadia had a beauty mark on her neck, a tawny oval that sometimes, rarely but not never, moved with her pulse. Saeed becomes immediately preoccupied with Nadia, and as his days are laid out in a short first chapter—“Saeed thought of Nadia and watched the hawk”; “he scrambled to prepare the pitch, copying and pasting from others he had done before”; “. Her husband was in Perth on business. The woman wore only a long T- shirt, one of his, and a wedding ring. Her torso and left leg were covered by a sheet even paler than she was; her right leg and right hip were bare. On her right ankle, perched in the dip of her Achilles tendon, was the blue tattoo of a small mythological bird. Her home was alarmed, but the alarm was not active. A man enters this Surry Hills house through a closet door, surveying the room, wrestling with his conscience as he watches over this sleeping woman, and grappling with his past: “Growing up in the not infrequently perilous circumstances in which he had grown up, he was aware of the fragility of his body.” He was also “aware that alone a person is almost nothing,” so he slips out the open window and drops to the street below. In this way, Hamid sets the tone of what is to come: a meticulously crafted, ambitious story of many layers, many geopolitical realities, many lives and circumstances, even though ultimately he is focused intimately on just two. Here is the world, he seems to be saying, the direction we’re hurtling in. How are we going to mitigate the damage we’ve done? While Saeed and Nadia’s initial encounters are tempered by the constraints of culture normal to any such city—a dinner at a Chinese restaurant that ends too soon and “the problem that confronted all young people in the city who wanted to continue in one another’s company past a certain hour”—Hamid does not shy away from detailing the unspoken elements in such cultures and lives. Desire and sex (“Saeed’s parents did not have sex until their wedding night. Of the two, Saeed’s mother found it more uncomfortable, but she was also the more keen, and so she insisted on repeating the act twice more before dawn. For many years, their balance remained thus”) add dimension, and somehow expand and further humanize a novel about home, exile, and becoming a refugee. From regular meetings at a caf. They sit in the caf. They share wishes, of places they one day would like to see (“the Atacama Desert. You can lie on your back and look up and see the Milky Way”). They lie in bed in what hours they have, pleasuring each other to the point of torment. The outbreak of war and the dangers of navigating a city dotted with checkpoints and the unexpected heighten the stakes of this budding relationship: In times of violence, there is always that first acquaintance or intimate of ours, who, when they are touched, makes what had seemed like a bad dream suddenly, evisceratingly real. For Nadia it is her cousin, who is blown up along with eighty- five others by a truck bomb, “to bits, the largest of which. Nadia, who comes to pay her condolences, never leaves. Although they sleep in separate rooms, Saeed’s father immediately begins to call Nadia “daughter.” During an uprising, everything becomes permissible. But how do you make a life that extends beyond mere survival? How do you imagine a life and future built and shared in a city under curfew and siege, with power cuts and no running water and rations and businesses shut down? People do, because they often have no choice—the expenses of the passage to elsewhere, not to mention the risks (drowning in the Mediterranean) or the difficulties of obtaining a visa for legitimate passage, are prohibitive. So they continue to live in war- torn Mosul, or Damascus, or Gaza; or in this unnamed city, which is reconfigured, within this landscape of life and death, with a new geography of place: War in Saeed and Nadia’s city revealed itself to be an intimate experience, combatants pressed close together, front lines defined at the level of the street one took to work, the school one’s sister attended, the house of one’s aunt’s best friend, the shop where one bought cigarettes. There is mention, in this unnamed city, of magic doors that lead to elsewhere, paid passages to other countries. Nadia, perhaps because of her own rootlessness, having lost all contact with her family despite their proximity in the city (a pain never quite addressed, slightly flattening an otherwise progressive character against Saeed’s angst and complexity), is the one most determined to find a way out for them.
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