Benson and Mike are at the end of the line, maybe. Neither of them seems quite sure. Something has to change, anyway; they’ve been together for four years and they’re approaching a point of nebulous, unspoken no return. Then something does change: Mike’s estranged father, in Osaka, is dying. Mike’s departure from Houston to care for him just as his mother Mitsuko arrives for a visit means Mitsuko and Benson are stuck as flatmates, each a stranger to the other, for an indeterminate amount of time. This, clearly, is the push they need, but what will they decide to do with it?
I read Bryan Washington’s debut story collection Lot over the summer, and found it hugely accomplished; he’s a very young writer to possess such a sense of restraint, although occasionally that restraint becomes the kind of telegram-ese that can make a contemporary novel seem flat and aloof. Memorial too is restrained, its sense of distance portrayed as a rhetorical survival skill acquired by Benson, whose family kicked him out not after he came out but after he was diagnosed HIV-positive, since, as he says, his gayness was then impossible to ignore. He retains individual relationships with his mother, father and sister, peculiar and distant as they are: he’s closest to his sister Lydia, who texts him regularly and has met Mike, but he occasionally speaks on the phone to his mother, who has remarried a pastor and has a whole new family of teenage boys, and he spends some time visiting (and fighting with) his father, who is an alcoholic living alone in a Houston suburb. He works at an afterschool centre for children from troubled or disadvantaged backgrounds, and although he doesn’t want children or particularly like them, he finds he’s good with them. His life with Mike, from this perspective, looks steady, if unexciting. When Mike leaves, it seems to shatter the possibility of their relationship recovering or deepening. He doesn’t text or call from Osaka for days at a time. (The texts, incidentally, are extremely well done and, as some other reviewer has noted, entirely without cutesy formatting that tends to signpost an author’s self-satisfaction at having Integrated Technology into their work:
I start to text Mike.
I type, We’re done.
I type, Fuck you.
I type, It’s over dickhead.
I type, How r u, and that’s what I send.Memorial, Bryan Washington, p. 22
Benson’s new roommate, Mike’s mother Mitsuko, is an acerbic shock to the system in the midst of all this angst. She and her husband Eiju raised Mike in the US, but both of them eventually moved back to Japan—Eiju first, precipitating their separation, and then her, several years before the book is set. Mitsuko’s English is perfect, her sarcasm is off the charts, and she’s not at all cuddly or maternal or what you might think of as traditionally nurturing. (Benson asks her, awkwardly, how her day has been, early on; she rattles through a list of what Mike has done to drop her in this situation, then concludes, “My day was fucking phenomenal.”) She swears a lot, and has conversations with Benson of a directness and clarity that he’s unused to (“So, how long have you been sleeping with my son?”; “I’m fluent in fine. Fine means fucked.”; “Remember… you’re the one who let him leave”). Her tenderness manifests in other ways, mostly in food, which Mike makes for a living, as a chef at a Mexican restaurant; Benson, meanwhile, is barely capable of cooking (which he realizes “might have been the problem in the first place”). Washington writes beautifully and without fuss about food preparation, the sensory delights of it and the clear, clean competence of knowing your way around it:
Mitsuko cooks what she tells me is his favorite: potato korokke, crowded beside onions and gravy, surrounded by sliced tomatoes and lettuce. She mashes the potatoes with pork through her fingers, drizzling the mixture with salt and pepper, molding tiny patties and flipping them in flour and egg yolks and panko. I watch them crisp from the counter, and Mitsuko watches me watch them.
It’s the most personal thing she’s shared with me so far, and I tell her that.
She looks at me for a while, then says, Don’t be stupid.Memorial, p. 58
Cleverly, what Washington does after about 100 pages of Benson’s perspective is shift us smoothly into Mike’s. So far, we’ve only seen Mike through a disgruntled lover’s eyes, and his behaviour in leaving his mother and boyfriend behind in order to pursue redemption of a sort with a father he hasn’t spoken to in fifteen years hasn’t necessarily endeared him to us. Context is everything, of course, and although Mike doesn’t exactly come out of his section fully redeemed, Washington’s point is made: we can sympathize with almost anything, almost anyone, if we’re given the gift of their perspective. Mike’s father Eiju is dying of pancreatic cancer, but insists on keeping it a secret from his small staff and many regulars at the bar he runs in Osaka (named, to Mike’s alarm and disbelief, after Mitsuko). Mike must reconcile the furious, violent father he knows with the jokey, blokey, paternal attitude Eiju takes at the bar. There’s the young and hapless Kunihiko, who was hired when he stumbled in to get drunk after being fired from a bank for gross incompetence; there’s Hana and Mieko, work pals who use the bar as something of a second home, as do three salarymen, Takeshi, Hiro, and Sana, who took months to realize they all worked in the same building; tiny Natsue and her ridiculously tall husband. To realize that someone who seems to have disliked and abandoned you is capable of affection and love with a found family is a painful but familiar plot point, but Washington’s restraint, again, is what spins straw into gold here.
Mike also tells the story of how he and Benson got together, in between the present-day moments of his time caring for Eiju and tending the bar, and this is where Benson’s self-presentation is called into question. He’s hard to get, ignoring Mike’s texts and obvious interest for days (an inversion of Mike’s weighted silence in the first section, which is maybe a projection, we realize). When they move in together, Benson not only doesn’t create relationships with the neighbours the way Mike does; he actively doesn’t want to. There’s tension over racial oppression: Benson is Black in America, but was more or less middle-class; Mike is Japanese in America, one of the “model minority”, but grew up with no money or stability.
[…] my parents weren’t surprised. They knew it was coming. It’d been building up for a while.
And y’all had money, I said.
What the fuck does that have to do with us?
It has everything to do with everything.
[…] Sure, he said. They had money. I grew up middle-class. But we’re black. So that cancels everything out.
If you say so.
I say so.
That wasn’t an attack, I said. It’s not a competition. It’s okay to grow up okay.Memorial, p. 194
But of course no one really grows up okay—everyone has something to get through in their childhood, whether it’s poverty or racial aggression or the experience of immigration or sickness or divorce or loneliness or anything else or some combination of multiple things—and it’s the excavation of not-okayness that Memorial is driving at, in the end. Benson and Mike can’t be together unless they can acknowledge openly—not defensively—the many ways in which they’re wounded. They need time and space to do that, and maybe once they’ve done it, they can’t even be together then; maybe they will have grown too far apart. The ending of the book leaves the question wide open, as Mitsuko leaves Houston, Mike contemplates returning to Osaka to run Eiju’s bar (which has been left to him if he wants it), and Benson… well, it’s not clear what Benson’s going to do. It’s not clear what any of them are going to do. There aren’t many reassuring bromides in this story, which is what redeems the other parts of it that might seem hackneyed: teaching your son’s partner how to cook; learning from your partner’s mother; coming to terms with your dying father’s life. At the end, it’s clear only that something has happened, something has ended, and something is starting.
Memorial was published in the UK by Atlantic Books on 7 January, 2021.