long live disaster women

Review: Luster by Raven Leilani

Women’s Prize longlist progress: 4/16 (I am not planning to read all 16 longlisted titles this year but am not sure yet how many I will read.)

Book Cover

In this novel, Edie is a young artist working for a publishing company that won’t put her in the art department. In return, Edie refuses to be the Black hire who works twice as hard and sucks up to her colleagues as though to apologize that she isn’t as white as the rest of them. But anyone could do her job, and Eidie knows it’s only a matter of time before the new Black girl, who is willing to play by white rules, gets her spot. And who can Edie turn to when the going gets rough? The guy she’s seeing is an older white man in an open marriage, and while even Edie knows this is a bad idea she can’t resist. Luckily his wife is willing to hold out a helping hand- such as it is- in Edie’s hour of need, in exchange for Edie’s guidance with the white couple’s Black daughter.

” ‘You noticed our daughter. When you came to the house,’ she finally says, and in this moment it becomes clear to me that despite this evening-long conspiracy, she is moving toward her most natural conclusion, which is to engage me not as a person who has just watched her dissect a man but as a person who is black, and who is, because of that, available for her support.”

I’ve been struggling with this review, because I did not enjoy the read nearly as much as I expected even though on paper Luster is pretty much perfect for my reading taste. It’s one of those messy/disaster woman books in which a young millennial seems to be deliberately tanking her life; in this case, Edie is sleeping around with everyone at the office who catches her eye, putting no effort into staying ahead of the new hire who’s clearly working her way up the office hierarchy. And then there’s Eric, the white guy whose biggest attraction seems to be that he’s significantly older than Edie. She knows he won’t be leaving his wife, and his relationship with Edie is selfish and unhealthy, but maybe Edie is looking to be used. On top of all this are the rejections of her art, the rent increase she can’t afford, the end of her health insurance coverage, a series of increasingly ill-fitting job interviews, and lingering grief over the death of her mother. Edie is down on her luck, a bit lost on her journey of self-discovery, and all she wants is to make bad decisions like the rest of us and scrape by until she stumbles upon something better. Why shouldn’t she have that?

I never tire of this sort of book, and the fact that Leilani is offering a captivating Black protagonist amid a predominantly white category of literature is appealing in itself. Many disaster women books by nature engage in a feminist commentary that challenges the societal expectations regularly placed upon women and the harsh consequences of failing to live up to that model standard; Leilani takes this commentary a step farther by reminding the reader of how much higher that bar of expectation is for women of color, and how any period of complacency- even one justifiably fueled by grief and job frustration- can tear everything she’s built down in a moment and leave her with barely a foothold for finding a next step. It’s a timely and important theme, and for me at least, always a pleasure seeing women be women, in all their flawed complexity.

In addition, Leilani is simply an incredible writer. Her prose is perceptive and bold, making skillful and relatable connections between the tangible, modern world and Edie’s emotions. Even though my circumstances are nothing like any of these characters’, I marked so many lines that reflected a true feeling I’d had and never known how to articulate, which is exactly the sort of sharp, intellectual narration that impresses me most.

“It’s not that I want exactly this, to have a husband or home security system that, for the length of our marriage, never goes off. It’s that there are gray, anonymous hours like this. Hours when I am desperate, when I am ravenous, when I know how a star becomes a void.”

And yet, for all of these positives, Luster focuses so heavily on its main character and themes that I found the overall story to be missing a necessary hook. Surprisingly for a book just over 200 pages, I set Luster down so many times and always had to talk myself into picking it back up. I think the reasons for this are twofold:

First, there’s so little plot to this novel. Such is the case with many character studies, and in Edie’s case in particular I think it’s fair to say that the whole point of the book is the derailment of Edie’s life. She doesn’t know what to do next or how to go about it, so of course her narration wanders uncertainly from one encounter to the next, just waiting for something to happen to give her a sense of direction again. She spends the entire novel trying to rediscover who she is as a person and as an artist. It makes sense , and yet the meandering story line can make for a challenging investment.

“I wake up in the morning and think for a moment that I am someone happier and then I remember where I am.”

Another disappointment for me was Edie’s relationship with Rebecca, Eric’s wife, and this disappointment stems largely from having read too many reviews before picking up this book myself, I think. I knew based on others’ reactions not to expect much from Eric- and indeed, he’s more interesting for the role he plays in Edie’s life than as a character in his own right. He really is just another white guy who doesn’t have much going for him beyond the privilege he’s lived with for so long. In contrast, may reviewers seem to have liked the relationships that develop between Edie and Eric’s wife and daughter. The daughter is a pre-teen, and her relationship with Edie is a bit rocky as the two are thrown together with little more than skin color as a commonality. Even as they eventually grow closer, this is clearly an adult/minor relationship in which Edie cannot voice her woes, and thus I was looking to Rebecca as someone I hoped would be a little closer to a friend for her, a peer.

Many other readers have called Edie and Rebecca’s relationship a friendship, but unfortunately I never saw it as such. Instead, even while they occasionally do nice things for each other, I saw them more as rivals circling each other out of curiosity and a need for validation. It is always an unbalanced relationship in which Rebecca has the upper hand and does not hesitate to exercise the power of that position. Even offering Edie a place to stay at a time when Edie is considering the legality of sleeping in her rental storage unit seems to be a way for Rebecca to show Edie what she, Edie, doesn’t have with Eric, and what Rebecca does. Their actions around each other feel like a performance- even scenes when the two seem to be comfortably spending time alone together feel like a demonstration of tolerance, just two people proving their humanity to each other in resistance of the natural rivalry they feel. It strikes me as no healthier than Eric’s affair with Edie. And while it may seem unfair to criticize Luster for failing to present something it never promised to, something that I only latched on to from others’ (equally valid) impressions, I think one positive relationship in this story might have been enough to draw me back into the plotless wallowing. If not Rebecca, then someone else. I needed something to hold on to while Edie was stumbling around, waist-deep in injustice and negativity. Unfortunately, Luster didn’t deliver that.

“If I’m honest, all my relationships have been like this, parsing the intent of the jaws that lock around my head. Like, is he kidding, or is he hungry? In other words, all of it, even the love, is a violence.”

Nevertheless, with its examinations of race, grief, artistry, capitalism, and modern relationships, this is absolutely a worthwhile addition to the disaster women category (long may it reign) and to the Women’s Prize longlist this year. It’s a strong debut that’s leaving me eager to pick up whatever Leilani will write next.

CWs: racism, police brutality, miscarriage, death of pet (mentioned with the implication that someone has harmed it, but this is not detailed explicitly), physical abuse, grief (relating to death of a parent)

My reaction: 3 out of 5 stars. I don’t particularly expect to see Luster on the WP shortlist in a couple of weeks, but I’m glad to have read it and to see so many others doing the same. Leilani is certainly an author to watch.

The Literary Elephant

16 thoughts on “long live disaster women”

  1. Well, I did not know that there was a category called ‘disaster women’ though I realise now that I’ve read plenty of it.
    Alas, enough of it to know that I can’t quite agree that ‘long may it reign’!

    Liked by 1 person

    1. Ha, I don’t think ‘disaster women’ is an official term, just something I’ve seen used around the blogging world and it felt so fitting I’ve adopted it. 🙂 They do seem to be very prevalent books in the last few years, and while some have been popular I do think quite a few readers are getting tired of the trend! I can definitely understand reaching your fill, though luckily I haven’t gotten there yet and I think these stories will always have their place, even if the lose some popularity.

      Liked by 1 person

    1. Fair choice! There are a couple of other longlisters I’m feeling that way about too. And honestly I think if you’ve read disaster women and women of color elsewhere (which of course you have) you wouldn’t miss much skipping this one. The prose is great but hopefully the payoff will be larger in future work from Leilani!

      Liked by 2 people

    1. Thanks! I definitely think Leilani’s prose will be worth checking out even if this particular book doesn’t suit. It’s a solid debut, but I’m hoping her next release will be even stronger.

      Liked by 2 people

  2. This is such an interesting review. I’ve had Luster on my list ever since I saw people start talking about it, and you’ve made me very keen to read it. I can see there would be lots I’d appreciate here – the illuminating narrative style, for one – and am intrigued as to how I’d react to the relationships you found problematic. Although I can see myself not liking it for the same reasons, it sounds complex enough that I reckon I’d enjoy reading and thinking about it.

    Liked by 2 people

    1. Ooh, I’d love to see your thoughts on this one! The prose really is so insightful and tackles some important issues. Even the relationships that didn’t fully work for me are definitely still interesting and complex, and it’s a book I’m glad to have read even if not every facet was a perfect fit for my personal taste. I hope you’d find plenty to appreciate in it as well if you do decide to pick it up!


  3. I have a made-up genre I call “girls gone wild” or “feral girls.” I know what it means to have a genre that doesn’t quite fit what’s out there, but they all have a similar vibe. This book does not sound like it’s for me at all. I’ve grown weary of writers who are putting out fiction that’s more about issues that a story. A story can address lots of current-event issues, but that can’t be the driving force. I always think that a writer should ask themselves, “What would happen if ____ person saw/did/came up ______ thing.” Not, “How do I write a book about racism and gender?”

    Liked by 1 person

    1. ‘Feral girls,’ I love that as a category! And I agree about being wary of issues books; there are definitely some that feel like they’d make for better articles than novels, though when it’s done well I do tend to like fiction that tackles social issues. Even in Luster’s case, I think this is a pretty strong character study in which the issues are filtered through a very believable character, though top-notch ‘issues books’ should be able to balance both character and plot, imo. A strong plot can convey just as much about a character or issue as simple telling through narration, and I think a better plot balance is one thing that would’ve helped Luster.


      1. It’s in a similar bucket as the books in which a character’s gender and sexual identity are named early on and color every interaction that person has vs. someone who is an individual whose choices are colored by their identities.


      2. Exactly! Dropping the character into a whole world they have to interact with definitely helps flesh them out more believably, whereas focusing too closely on just character to try to send messages through them to the reader can make it all feel forced. That’s what’s so odd about this book for me though, it seems to land right in the middle. The world feels complete and the characterization feels natural, but since the MC doesn’t really have a goal or aim, her interactions with the world just feel random. Which is lifelike! But kind of boring in a novel.

        Liked by 1 person

    1. Thanks! Though there are definitely some great aspects to this book, I think the storytelling falls a little short, sadly. Leilani’s writing is definitely worth keeping an eye out for in the future but if you’re not thrilled about the sound of this one I think you’re fine skipping it!

      Liked by 1 person

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