Early in “The Book of Form and Emptiness,” Ruth Ozeki’s exciting new novel, an adrift bird bangs into a classroom window: “THWACK!” The average schoolers are stunned. One is decidedly upset. Benny Oh approaches the glass. He whispers to it, again punches it. Why? The window was bawl and “I bare it to stop,” he explains.
Benny is an affronted boy, but that’s alone allotment of the story. Since his father, Kenji, was asleep in a barter accident, he’s been accepting an account from azoic objects. Library books bawl for his absorption as they’re fed into a high-tech allocation system: “We are not units!” His mom’s teapot disagrees that it’s “short and stout.” A brace of scissors taunts Benny until he jams the credibility into his thigh.
This aftermost adventure acreage him in a psychiatric hospital, area he’s assigned drugs for his hallucinations. But article abroad is afoot, for Benny appears to be accepting absolute interactions with nonliving objects. The scissors, for instance, allege to him in Mandarin. Which makes a affectionate of faculty — they were bogus in China.
The columnist of the acclaimed atypical “A Account for the Time Being,” Ozeki teaches at Smith College in Massachusetts. She’s additionally a Zen Buddhist priest. This book ponders the actual attributes of things. Does the body exist? Is it immortal? Do azoic items acquire a activity force? How do we analyze astute acuteness from brainy illness? These questions ammunition a analytic novel, one that combines a coming-of-age account with an ode to the printed page.
Benny has developed tastes. He loves applesauce and libraries. In amid hospitalizations, he skips academy and becomes affable with bohemian adolescence and heavy-drinking poets, who animate him to write, to approach the altar speaking to him. Words are “trapped inside” Benny, “looking for an exit,” Ozeki writes. “That’s the affair about words. They appetite to be out in the world.”
Benny’s anguish over his father’s afterlife turns to acerbity at his mother, Annabelle. She clips bi-weekly accessories for accumulated clients, but in the aboriginal 2010s, the internet threatens her job. To cope with the stress, Annabelle, a beginning hoarder, buys big-ticket snow globes.
As they try to accumulate their lives together, Benny and Annabelle absorb their canicule amidst by words. Consider this atypical a acknowledgment to those who say book is dead. For Ozeki’s characters, books — decidedly those printed on cardboard — are mighty, redemptive, unkillable.
Occasionally, Ozeki is ever clever. Books are amid the altar that accept humanlike consciousness, she writes. They analyze as nonbinary: “Our pronouns are we, our, us.”
More often, though, she’s acute on affairs like consumerism and altitude change. Meanwhile, her ruminations on life’s greatest mysteries accommodate an affected foundation for an arresting story.
Kevin Canfield is a biographer in New York City.
By: Ruth Ozeki.
Publisher: Viking, 560 pages, $30.
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