Synopses & Reviews
Entertainment Weeklys Favorite Novel of 2011 Esquires 2011 Book of the Year A New York Times Notable Book for 2011A Washington Post Notable Fiction Book for 2011One of NPRs 10 Best Novels of 2011
Ten years after 9/11, a dazzling, kaleidoscopic novel reimagines its aftermath
A jury gathers in Manhattan to select a memorial for the victims of a devastating terrorist attack. Their fraught deliberations complete, the jurors open the envelope containing the anonymous winners name—and discover he is an American Muslim. Instantly they are cast into roiling debate about the claims of grief, the ambiguities of art, and the meaning of Islam. Their conflicted response is only a preamble to the countrys.
The memorials designer is an enigmatic, ambitious architect named Mohammad Khan. His fiercest defender on the jury is its sole widow, the self-possessed and mediagenic Claire Burwell. But when the news of his selection leaks to the press, she finds herself under pressure from outraged family members and in collision with hungry journalists, wary activists, opportunistic politicians, fellow jurors, and Khan himself—as unknowable as he is gifted. In the fight for both advantage and their ideals, all will bring the emotional weight of their own histories to bear on the urgent question of how to remember, and understand, a national tragedy.
In this deeply humane novel, the breadth of Amy Waldmans cast of characters is matched by her startling ability to conjure their perspectives. A striking portrait of a fractured city striving to make itself whole, The Submission is a piercing and resonant novel by an important new talent.
Review
Praise for The Submission
“Amy Waldman’s The Submission is a wrenching panoramic novel about the politics of grief in the wake of 9/11. From the aeries of municipal government and social power, to the wolf-pack cynicism of the press, to the everyday lives of the most invisible of illegal immigrants and all the families that were left behind, Waldman captures a wildly diverse city wrestling with itself in the face of a shared trauma like no other in its history.” —Richard Price, author of Freedomland and Lush Life
“Amy Waldman writes like a possessed angel. She also has the emotional smarts to write a story about Islam in America that fearlessly lasers through all our hallucinatory politics with elegant concision. This is no dull and worthy saga; it’s a literary breakthrough that reads fast and breaks your heart.” —Lorraine Adams, author of Harbor and The Room and the Chair
“Frighteningly plausible and tightly wound . . . Waldman addresses with a refreshing frankness thorny moral questions and ethical ironies without resorting to breathless hyperbole.” —Publishers Weekly (starred review)
Review
“Nervy and absorbing . . . A story that has more verisimilitude, more political resonance and way more heart than The Bonfire of the Vanities . . . Writing in limber, detailed prose, Ms. Waldman has created a choral novel with a big historical backdrop and pointillist emotional detail, a novel that gives the reader a visceral understanding of how New York City and the country at large reacted to 9/11, and how that terrible day affected some Americans attitudes toward Muslims and immigrants . . . Ms. Waldman does an affecting job of showing how people who have lost relatives in the terrorist attack are trying to grapple with their own confusion and conflicting emotions, even as they find themselves caught up in a political conflagration. Indeed, it is Ms. Waldmans ability to depict their grief and anger . . . that lends this novel its extraordinary emotional ballast.” —Michiko Kakutani, The New York Times
“Elegantly written and tightly plotted . . . With the keen and expert eye of an excellent journalist, Waldman provides telling portraits of all the dramas major players, deftly exposing their foibles and their mutual manipulations. And she has a sense of humor: the novel is punctuated with darkly comic details [which] would seem richly satirical were it not for the fact that they so closely reflect reality . . . In these unnerving times, in which Waldman has seen facts take the shape of her fiction, a historians novel at once lucid, illuminating and entertaining is a necessary and valuable gift.” —Claire Messud, The New York Times Book Review
“Moving . . . Eloquent . . . A coherent, timely and fascinating examination of a grieving Americas relationship with itself. Waldman . . . excels at involving the reader in vibrant dialogues in which the level of the debate is high and the consequences significant . . . In presenting us with a world that is recognizably our own, despite her tweaking of one of its variables, the author subverts the central dictum of alternate history: namely, that the single historical switch should precipitate multiple and major consequences. Instead, brilliantly, Waldman gives us back our own world.” —Chris Cleave, The Washington Post
“Masterful . . . [A] scathing, dazzlingly crafted indictment of the messes people make when they mistake ideology for morality and bigotry for patriotism . . . Waldman, an ex-New York Times bureau chief, unspools her story with the truth-bound grit of a seasoned journalist and the elegance of a born novelist.” —Leah Greenblatt, Entertainment Weekly
“Propulsive and thoughtful . . . [A] smart and sensitive work of fiction.” —Mark Athitakis, Star-Tribune (Minneapolis)
“Devastating . . . An excellent debut novel . . . The Submission is an exceedingly accomplished novel. The pacing, dialogue, characters and plot are absorbing from the start. Waldman populates her work with a dozen realistic characters.” —Anne Trubek, The Plain Dealer (Cleveland)
“A novel whose time has come . . . [Amy Waldmans] debut novel is a sharp work with complex characters and an unflinching skepticism about human motivation. Waldman recognizes the tragedy of 9/11 without indulging in sentimentality . . . Much of the power in Waldmans writing comes from her ability to gradually reveal layer upon layer of her characters circumstances, creating a continual sense of enlightenment as the story progresses.” —M.L. Johnson, Associated Press
“[A] gripping, deeply intelligent novel . . . Panoramic in scope but thrillingly light on its feet . . . Waldman does a masterful job of getting into the heads of New Yorkers . . . [A] dazzling tapestry of a grieving city.” —Kimberly Cutter, Marie Claire
“Waldman, a former South Asia bureau co-chief for the Times, has antennae well tuned to the media circus. Perhaps its her reporters skill that makes her so nimble at sketching in characters; shes a penetrating psychologist, especially for a first novelist. She weaves together a half-dozen stories, from the top to the bottom of New Yorks social strata, and keeps them moving briskly forward; you never want to stop reading.” —Craig Seligman, Bloomberg News
“In her magnetizing first novel, replete with searing insights and exquisite metaphors, Waldman, formerly a New York Times reporter and co-chief of the South Asia bureau, maps shadowy psychological terrain and a vast social minefield as conflicted men and women confront life-and-death moral quandaries within the glare and din of a media carnival. Waldman brilliantly delineates the legacy of 9/11; the confluence of art, religion, and politics; the plexus between the individual and the group; and the glory of transcendent empathy in The Bonfire of the Vanities for our time.” —Donna Seaman, Booklist (starred review)
“[An] emotionally and politically rich novel . . . The Submission raises wrenching post-9/11 questions about what it means to be an American . . . [Waldmans] novel transcends ideological politics.” —Bob Minzesheimer, USA Today
“Fascinating . . . Brilliant . . . The genius of Waldman's novel is that it captures the manner in which a member of a group that has become part of an ideological tussle will often come to be stripped of his humanity and viewed as a symbol . . . A searing personal saga.” —Rayyan Al-Shawaf, New York Press
“[The Submission] accomplishes the rare feat of being prescient after the fact, a counterfactual novel that turns out to be accurate in all the details that matter . . . [Waldman is] as convincing in an apartment full of Bangladeshi immigrants as she is among the martini-quaffing suits in midtown . . . A New Yorker might well read The Submission before bed and wake up the next morning believing it actually happened.” —Jess Row, New York
“Addictively readable . . . A frank exposé of American bigotry—and a nuanced examination of the way in which a national tragedy brings out the best and worst in its citizens . . . Not unlike The Wires David Simon, Waldman, a former New York Times South Asia bureau chief, has an eye for the less sound bite-worthy but crucial ways in which ideology and influence make their imprint on the world . . . as well as the ability to dramatize how the abstract choices made by elites in a conference room have unfathomable repercussions for others with narrower options.” —Megan OGrady, Vogue
“Waldman boldly re-imagines an eerily realistic alternate history of the years after 9/11 . . . [The Submission] refracts with uncanny insight the public ambitions and private pain that have shaped us, showing us ourselves with rueful grace . . . With a reporters keen eye for how stories spin and are spun, Waldman dramatizes the presss machinations as perhaps only a journalist could.” —Tess Taylor, Barnes & Noble Review
“[A] provocative and smartly conceived book.” —Bob Hoover, Pittsburgh Post-Gazette
“[A] poised and commanding debut novel . . . A remarkably assured portrait of how a populace grows maddened and confused when ideology trumps empathy. A stellar debut. Waldmans book reflects a much-needed understanding of American paranoia in the post-9/11 world.” —Kirkus Reviews (starred review)
“Amy Waldmans The Submission is a wrenching panoramic novel about the politics of grief in the wake of 9/11. From the aeries of municipal government and social power, to the wolf-pack cynicism of the press, to the everyday lives of the most invisible of illegal immigrants and all the families that were left behind, Waldman captures a wildly diverse city wrestling with itself in the face of a shared trauma like no other in its history.” —Richard Price, author of Freedomland and Lush Life
“Waldman fluidly blends her reporters skill . . . at rapid-fire storytelling with a novelists gift for nuanced characterization. She dares readers to confront their own complicated prejudices steeped in faith, culture, and class. This is an insightful, courageous, heartbreaking work that should be read, discussed, then read again.” —Sally Bissell, Library Journal (starred review)
“Amy Waldman writes like a possessed angel. She also has the emotional smarts to write a story about Islam in America that fearlessly lasers through all our hallucinatory politics with elegant concision. This is no dull and worthy saga; its a literary breakthrough that reads fast and breaks your heart.” —Lorraine Adams, author of Harbor and The Room and the Chair
“Frighteningly plausible and tightly wound . . . Waldman addresses with a refreshing frankness thorny moral questions and ethical ironies without resorting to breathless hyperbole.” —Publishers Weekly (starred review)
Review
“A masterful debut . . . Waldman unspools her story with the truth-bound grit of a seasoned journalist and the elegance of a born novelist.” —Entertainment Weekly “Gripping, deeply intelligent . . . panoramic in scope but thrillingly light on its feet . . . [A] dazzling tapestry of a grieving city.” —Kimberly Cutter, Marie Claire "The Submission reads as if the author had embraced Tom Wolfe's famous call for a new social realism...and in doing so has come up with a story that has more verisimilitude, more political resonance, and way more heart than Mr. Wolfe's own 1987 bestseller, The Bonfire of the Vanities."—Michiko Kakutani, The New York Times Book Review "A gorgeously written novel of ideas...The Submission is sure to generate a lot of discussion in book clubs across the land."—NPR's Fresh Air "Addictively readable...Not unlike The Wire's David Simon...Waldman has an eye for the less sound bite-worthy but crucial ways in which ideology and influence make their imprint on the world."—Vogue
Synopsis
Claire Harwell hasn’t settled into grief; events haven’t let her. Cool, eloquent, raising two fatherless children, Claire has emerged as the most visible of the widows who became a potent political force in the aftermath of the catastrophe. She longs for her husband, but she has found her mission: she sits on a jury charged with selecting a fitting memorial for the victims of the attack.
Of the thousands of anonymous submissions that she and her fellow jurors examine, one transfixes Claire: a garden on whose walls the names of the dead are inscribed. But when the winning envelope is opened, they find the designer is Mohammad Khan—Mo—an enigmatic Muslim-American who, it seems, feels no need to represent anyone’s beliefs except his own. When the design and its creator are leaked, a media firestorm erupts, and Claire finds herself trying to balance principles against emotions amid escalating tensions about the place of Islam in America.
A remarkably bold and ambitious debut, The Submission is peopled with journalists, activists, mourners, and bureaucrats who struggle for advantage and fight for their ideals. In this deeply humane novel, the breadth of Amy Waldman’s cast of characters is matched by her startling ability to conjure individual lives from their own points of view. A striking portrait of a city—and a country—fractured by old hatreds and new struggles, The Submission is a major novel by an important new talent.
Synopsis
Entertainment Weekly's Favorite Novel of 2011
Esquire's 2011 Book of the Year
A New York Times Notable Book for 2011
A Washington Post Notable Fiction Book for 2011
One of NPR's 10 Best Novels of 2011
Ten years after 9/11, a dazzling, kaleidoscopic novel reimagines its aftermath
A jury gathers in Manhattan to select a memorial for the victims of a devastating terrorist attack. Their fraught deliberations complete, the jurors open the envelope containing the anonymous winner's name--and discover he is an American Muslim. Instantly they are cast into roiling debate about the claims of grief, the ambiguities of art, and the meaning of Islam. Their conflicted response is only a preamble to the country's.
The memorial's designer is an enigmatic, ambitious architect named Mohammad Khan. His fiercest defender on the jury is its sole widow, the self-possessed and mediagenic Claire Burwell. But when the news of his selection leaks to the press, she finds herself under pressure from outraged family members and in collision with hungry journalists, wary activists, opportunistic politicians, fellow jurors, and Khan himself--as unknowable as he is gifted. In the fight for both advantage and their ideals, all will bring the emotional weight of their own histories to bear on the urgent question of how to remember, and understand, a national tragedy.
In this deeply humane novel, the breadth of Amy Waldman's cast of characters is matched by her startling ability to conjure their perspectives. A striking portrait of a fractured city striving to make itself whole, The Submission is a piercing and resonant novel by an important new talent.
Synopsis
A New York Times Book Review Notable Book of the YearAn Entertainment Weekly Best Novel of the Year
An NPR Top Ten Novel of the Year
A Washington Post Notable Book of the Year
Esquire Book of the YearA jury chooses a memorial for the victims of a devastating terrorist attack on Manhattan, only to learn that the anonymous designer is an American Muslim -- an enigmatic architect named Mohammad Khan. His selection reverberates across a divided, traumatized country and, more intimately, through individual lives. Claire Burwell, the sole widow on the jury, becomes Khan's fiercest defender. But when the news of his selection becomes public, she comes under pressure from outraged family members and into collision with hungry journalists, opportunistic politicians, and even Khan himself. A story of clashing convictions and emotions, and a cunning satire of political ideals, The Submission is a resonant novel for our times.
About the Author
Amy Waldman was co-chief of the South Asia bureau of The New York Times. Her fiction has appeared in The Atlantic and the Boston Review and is anthologized in The Best American Nonrequired Reading 2010. She lives with her family in Brooklyn. This is her first novel.
Reading Group Guide
1. What do you think the purpose and message of a national memorial should be? Would you have voted for the Void or the Garden?
2. Reread the epigraph. What do its words suggest about the relationship between nature and human nature?
3. As Claire tries to explain the tragedy to William (and, in a way, to Penelope), what does she discover about her own beliefs and feelings?
4. Mo is under considerable pressure to give the “right” reasons when asked why he entered the competition, but he defies simplistic answers. What does his design communicate on its own? For any creative work—including novels—should the authors biography matter to us? Do you think he was obligated to explain himself and his design? Why or why not?
5. Chapter 16 begins with a depiction of Mos hunger and thirst during Ramadan. Were told, “The truth was he didnt know why he was doing it.” How does it affect him, a secular skeptic, to join Muslims worldwide in observing the fast?
6. How did your reactions shift as Seans story unfolded, especially as he struggled with conflicting feelings after pulling Zahiras scarf? Is bigotry excusable if its coming from someone whose loved one was the victim of a horrific crime? What are the limits of a survivors rights?
7. Asmas memories of Inam are her private inheritance, and she must rely on translators to convey her messages in English. Did anyone in the novel have a truly accurate understanding of her suffering? How was her mourning experience different from Claires and Seans? What common emotions do all of the novels survivors share?
8. Many of the characters desperately want someone to blame for their loss. The final line of chapter 22, referring to Alyssa, reads, “She is responsible.” Ultimately, who is responsible for the tragedies depicted in the novel?
9. What would you have done in Paul Rubins situation? Was it courageous or insensitive of him to permit Mos submission to move forward?
10. A journalist, Amy Waldman had special insight into Alyssas world. What does the novel tell us about the role of the media (exploited by all parties involved) and the impact of a free press in the information age?
11. How does Claires sense of self change when Jack reappears in her life? Did Cal, despite his wealth, cost her an important part of her identity?
12. Discuss the novels title. To what (and to whom) must the characters submit? Who are the novels most and least submissive characters?
13. An uproar erupted in 2010 when Park51, a community center housing a mosque, was proposed for construction two blocks from Ground Zero. What does this conflict—and the one described in The Submission—suggest about how 9/11 might have transformed American society? (Note: Amy Waldman began writing The Submission several years before Park51 was announced.)
14. What makes fiction a powerful way to explore events that shaped our lives? What can a novel achieve that journalism and testimonials cant?
15. In the final “dialogue” between Claire and Mo, orchestrated by Molly and William, is anything resolved? What does the closing image of a cairn show us about the heart of the novel, and the role of future generations in resolving history?
Guide written by Amy Clements / The Wordshop, Inc.