{"id":1993,"date":"2026-08-12T06:13:16","date_gmt":"2026-08-12T06:13:16","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=1993"},"modified":"2026-08-12T06:13:16","modified_gmt":"2026-08-12T06:13:16","slug":"marlon-james-returns-to-realism-and-to-jamaica","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=1993","title":{"rendered":"Marlon James Returns to Realism, and to Jamaica"},"content":{"rendered":"<section><p><span>The Jamaican writer<\/span> Marlon James won international fame with <i>A Brief History of Seven Killings<\/i>, which was awarded the Booker Prize in 2015. That title misled\u2014the book describes dozens of killings, not just seven, and it is by no means brief\u2014but its premise delivered. The 700-page novel, his third, revisits the Jamaican election of 1976 and the assassination attempt on Bob Marley that year; the gang truce of 1978; and the violence that preceded and followed, first in Kingston, then in New York City during the 1980s and early 1990s. Lots of Americans, myself included, learned some pivotal Jamaican history and some Jamaican English and patois from its many troubled narrators.<\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=1989\">The Man Who Refused to Sit on the Sidelines<\/a><\/p><div><section><div><h2>Explore the September 2026 Issue<\/h2><p>Check out more from this issue and find your next story to read.<\/p><\/div>View More<\/section><\/div><p>Most of those narrators seek political power, bloody revenge, wealth, or journalistic glory. The sole woman in the array\u2014the only consistently sympathetic narrator\u2014wants instead to disappear: \u201cShut everybody out. Shut everybody down. Just go.\u201d She even pores over <i>How to Disappear Completely and Never Be Found<\/i> (it\u2019s a real book). \u201cWhether on a plane or in a box,\u201d she muses, \u201cI was going to leave this place.\u201d James, who grew up in Kingston and now splits his time between New York City and Minneapolis, has said the same about himself: \u201cWhether it was in a plane or in a coffin, I knew I had to get out of Jamaica.\u201d<\/p><p><i>The Disappearers<\/i>, James\u2019s new novel, shows why. <i>Brief History<\/i> studies men who want to rise, to dominate, to become stars; this one focuses on men who try not to be seen. It\u2019s James\u2019s most clearly autobiographical work. Of its five main narrators, two share his age, background, and interests, and one of those misses out on the worst of Jamaica\u2019s violence and ends up, as James has, in a stable job with an advanced degree. It\u2019s also James\u2019s first realist novel since <i>Brief History\u2014<\/i>he published two long works of complex, bloody, mythological fantasy in between.<\/p><section><div>\n<figure class=\"wp-block-image size-full\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" alt=\"\" class=\"wp-image-1992\" height=\"240\" src=\"https:\/\/commercialrelocationpros.com\/wp-content\/uploads\/2026\/08\/993a5a8b6c191ad24037f2119fb5cd10.avif\" width=\"158\"\/><\/figure>\n<\/figure>\n<div><div>The Disappearers<\/div><div>By <!-- -->Marlon James<\/div><\/div><div><div><button>Buy Book<\/button><\/div><\/div><\/div><\/section><p>This time, he writes about Jamaican men who have sex with men (only some would call themselves gay). Eight of them assemble in a Kingston home in 1988 for rehearsals of the Canadian playwright John Herbert\u2019s 1967 prison drama, <i>Fortune and Men\u2019s Eyes<\/i>, under the direction of Havelock, a confident, queeny \u00e9migr\u00e9 who\u2019s returned from England. Speaking in Jamaican English, as most of the characters do, he explains that it\u2019s \u201ca gay play about men loving and sexing and rule over other men.\u201d<\/p><p>None of the men who gather at the house on Lady Musgrave Road is a professional actor. All responded to flyers or heard about the play through word of mouth, and the five central narrators take turns admitting us into their minds. Eddy, a bookish university student and one of the James-like pair, combines his literary interests with a craving for porn; his passion for indie rock and <i>X-Men<\/i> comics alienates him further from his peers. Jordan, who lives in his car and hustles to survive, becomes almost a doppelg\u00e4nger for Eddy: He likes comics and alternative rock too, and reads the same sort of literary books as Eddy.<\/p><p>The group also includes a mysterious half-Chinese businessman whom Eddy can\u2019t help finding hot; wealthy Omar, who funds the rehearsals; and three other actors. All discover, during and after rehearsals, some imaginative refuge\u2014a space for people who, as Eddy puts it, \u201ccan\u2019t leave but can\u2019t stay.\u201d They chat and flirt and grumble about what parts they\u2019re assigned. One actor objects to playing a drag queen. Men feel they have to protect their manhood, even in this private space.<\/p><p>Then the violence descends. A posse of men finds the house and beats almost everyone bloody or worse, using blackjacks, nunchucks, knives, fists, a crowbar, a cricket bat. James depicts the aggressors\u2019 thoughts in a short Faulknerian fugue. At least one of the attackers is closeted: \u201cKill it in them, kill it in me.\u201d Two are cops. Another\u2019s a reggae star whose big hit \u201cBatty Is Not Pussy\u201d advocates killing gay men. (<i>Batty<\/i> is Jamaican slang for \u201crear end,\u201d and <i>battyman<\/i> is an insulting term for gay men.) James\u2019s made-up star recalls the real musician Buju Banton, whose breakout track, \u201cBoom Bye Bye\u201d\u2014which he\u2019s since repudiated\u2014also extols gay-bashing and murder. The mayhem leaves one actor dead, another blinded, and the rest hoping to rebuild, or more likely flee, their prior lives.<\/p><p>The remainder of the novel follows the survivors as Jordan and Eddy attempt, separately and together, to track down those among them who have gone missing. Parts of interlocking stories unfold in the narrators\u2019 divergent voices. Havelock writes delightfully ornate letters to his former lover in England. Jordan and Eddy relate their own travails through recorded interviews with a journalist named Petra, but also describe, in the first person, their days and years. Jordan ends up with the most eventful character arc, ultimately tracking down perpetrators too: He wants them to pay, or at least not to disappear.<\/p><p><span><span>B<\/span><em><span>rief History<\/span><\/em> <\/span>looks at power in a place of violence and examines what secrets it hides. Now James has written a book about people whose whole lives feel like secrets. And he has a thesis: Those who grow up learning that they are bad and do not deserve to exist\u2014people who might get raped, maimed, or murdered for trying to be themselves\u2014almost inevitably organize their life around attempts to disappear, escape, or else retreat to the margins, becoming (like Eddy) figures who observe others, themselves unseen, or (like Jordan) agents of vengeance who stick to the shadows.<\/p><p>\u201cThere is a Jamaica underneath this Jamaica,\u201d Jordan tells Eddy, whose more sheltered and luckier life means he might not know. It\u2019s a metaphor, except when it\u2019s not; the drag queens, trans women, and unhoused youth who live in Kingston\u2019s gullies, below street level, have made it literal, as Eddy and Jordan, in flight from another mob later in the story, show us. James makes the gully dwellers and their fragile world a compelling side story, intent on presenting a panorama of Kingston\u2019s gay life, from those who occupy the economic heights (also literal hills) down to \u201call of them queens and freaks and fishboys and battymen\u201d who \u201ccannot and will not pass.\u201d The survivors of Lady Musgrave Road flee to totally closeted respectability, \u201ca safe place filled with disappointment,\u201d where several remain for years; or else to opportunities off the island, or religious rebirth, or a near-invisible secluded life \u201cat the top of a mountain.\u201d We might see the whole novel as an attempt to create a stage, a space, where gay Jamaican men can honestly and fully appear, at least in retrospect.<\/p><p>Like <i>Brief History<\/i>, <i>The Disappearers<\/i> offers a big, modernist assemblage of contrasting styles, personas, and points of view. It, too, is a work of classic realism, touring the social layers in a changing Kingston as its characters earn and lose money, rise and fall. But unlike <i>Brief History<\/i>, which includes gay characters but mostly isn\u2019t about them, <i>The Disappearers<\/i> also belongs with those earlier chronicles of gay America that Jordan and Eddy name-check, especially John Rechy\u2019s <i>The Sexual Outlaw<\/i>. And so it\u2019s full of gay sex: ecstatic, conflicted, reluctant, a desperate secret or an open secret.<\/p><p>James acknowledges occasions of sweet, mutual, that\u2019s-how-it-should-be sex\u2014but those happen largely offstage. Most of the on-page couplings instead mix, alarmingly, sex with violence. Some people seek humiliation; some want to inflict it. Some get hurt by their tricks. James manages not to kink-shame anyone, but he\u2019s less interested in kink education than in displaying a sexual world where every hookup comes with scary risks: assault and battery, for example, or public exposure, or HIV in the age before retrovirals. Living in fear of \u201cthe AIDS\u201d entails its own \u201clong set of disappearing acts\u201d\u2014not just sickness and death, but shame and denial and an inability to mourn.<\/p><p>Those risks do not keep most of James\u2019s survivors from pursuing, or becoming, hookups and rent boys and hate-fucks, with and without proper lube and enemas, which the novel\u2014appropriately, even necessarily\u2014describes: Responsible writing about anal sex has to mention those things, and James does. He wants to bring his gay men\u2019s sex lives into the light. The men, however, keep trying to \u201cerase themselves,\u201d learning how to \u201cmake yourself into the kind of person nobody wants to see.\u201d Early on, Eddy claims, \u201cI don\u2019t think about it a lot,\u201d and yet he\u2019s never unaware of being \u201cpart of an us that people just want to beat to death.\u201d Or bury alive.<\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=1987\">Disunion<\/a><\/p><p><span>The novel <\/span>opens up many pleasures for literary readers, in its pacing, in its observations, and especially in the ventriloquism of Havelock\u2019s old-school prose (he even writes one letter in the obsolescent gay slang Polari). But it\u2019s not, mostly, a book about pleasure: These lives are often\u2014realistically\u2014scary or sad. We should not label them tragedies, though, because that implies a controlling divinity, or at least a fixed fate. As Havelock insists, \u201cWe need to stop calling atrocities tragic.\u201d <i>The Disappearers<\/i> is, among other things, one novel responding to many atrocities.<\/p><p>When you grow up surrounded by people who hate you for what you are and whom you love, it\u2019s tough to disentangle their hate from self-hate, and either one from a wish to die. And it\u2019s not just the cast from Lady Musgrave Road that conflates self-destruction with self-fashioning, death with destiny. So does the music of Kurt Cobain, the most important among the cultural touchstones that give Jordan and Eddy alternatives to Kingston. They listen to Nirvana, and to the rock bands that Cobain recommended\u2014\u201cmusic that people who hate me don\u2019t like,\u201d Jordan says\u2014more than to \u201cPeter Metro and Admiral Bailey\u201d and other hitmakers from the island.<\/p><p>Major characters also find allies in older gay novels, like Rechy\u2019s, and in comic books. \u201cCome to think of it, my life is exactly like <i>X-Men<\/i>. I served a world, in this case the world of cool boys,\u201d Eddy decides early on, \u201conly to have those same boys abuse and brutalize me.\u201d The heroic mutants of Marvel Comics\u2014Nightcrawler, who looks like a devil; Storm, whom one gully queen resembles; and the rest\u2014promise one way to survive the Kingston experience, even though, in the particular issue of <i>X-Men<\/i> that Eddy covets, the X-Men literally disappear.<\/p><p>Renaissance writings\u2014Shakespeare\u2019s sonnets and <i>King Lear<\/i>, Christopher Marlowe\u2019s <i>Edward II<\/i>\u2014give James additional scaffolding for his stories about attachment and found family, literal torture and tortured love. The strongest subplot links the fate of Eddy\u2019s half-Chinese crush back to the sonnets, as well as to Herbert\u2019s play. The weakest subplot turns Jordan into an obsessive, predictable avenger, less like one of the X-Men than like a Jamaican Joker, with a twist that\u2019s no twist at all if you\u2019ve seen horror films. Yet up to that obvious final act, the Eddy-and-Jordan pairing works elegantly, showing two sides of the same damaged face.<\/p><p>Still, any reader will feel for Jordan when he exclaims, late in the novel, \u201cMy ghost suffering makes me want to scream.\u201d He means both that, compared with people dying of AIDS, he isn\u2019t genuinely suffering (though he is), and that he feels like a disembodied outcast, a kind of ghost. <i>The Disappearers<\/i> ends up as a violence-driven protest, a scream of rage\u2014like Nirvana\u2019s final album\u2014against a world that keeps trying to kill people like him and then pretends that they asked for it, or that they never existed. The novel is a superbly fashioned instrument for showing what felt wrong, what went wrong, in Jamaica in the late 1980s and \u201990s, and what\u2019s still wrong in other places, too, where people who grow up marginalized get blamed for their own persecution, or else celebrated as brave exceptions when, against the odds, they succeed.<\/p><p>The fantastic unfairness\u2014especially if it\u2019s as brutal and direct as what James depicts\u2014might make you a vanisher or an avenger (like Jordan). Or it might instead make you a chronicler (like Eddy and Petra), a maker of memorials, even a rescuer for people who want to be rescued\u2014people who get sick of trying to disappear. And some do: Most of the survivors from Lady Musgrave Road, however wounded, find a way to forge on. Some (like Havelock) even keep trying at \u201cbuilding something\u2014I don\u2019t know, a safe place, a room of one\u2019s own and world so you can let your hair down so to speak?\u201d<\/p><p>In James\u2019s wildly patriarchal Jamaica, the struggle to live as a gay man means a struggle to become and remain some kind of man, whatever you like to do in bed. Life is, or seems to be, all about men: Women appear in the book but never narrate (as one does in <i>Brief History<\/i>), and barely say how they feel. That\u2019s part of the point of <i>The Disappearers<\/i>, in which the same men who persecute gay desire want women to disappear. As in any binary opposition, men learn to define themselves against their supposed other: \u201cNothing more shameful for a man than to be treated like a woman,\u201d one character thinks, an idea all too familiar in the contemporary United States as well.<\/p><p>Among the seven people who survive the Lady Musgrave Road assault, James traces some future for all but one: outside or inside Jamaica, in sham marriages that fail or desk jobs that allow them to subsist, and even in fragile, comforting, long-delayed reunions. As for that one actor who just drops out of the plot, maybe he died. After all, his \u201cown family prefer him gone.\u201d Or maybe that person was never a man in the first place and built a solid life elsewhere as an adult woman, her boyhood deleted for good\u2014what trans people in earlier generations called \u201cwoodworking\u201d (fading into the woodwork).<\/p><p>Within <i>The Disappearers<\/i>, that\u2019s one character\u2019s speculation, dismissed as soon as it\u2019s raised. But it\u2019s also another hint of hope. And this novel, which ends in 2005, does offer hope: not just for gay Jamaican men but for trans teens, nonbinary adults, and anyone else since then who\u2019s felt as though their society has kept asking them to hide, or lie, or die, or just go away. <i>The Disappearers<\/i> is a harrowing book, to be sure, but never nihilist, or defeatist, or cynical. Its joy in ultimate survival comes through.<\/p><p><small><i>This article appears in the <\/i><i>September 2026<\/i><i> print edition with the headline \u201cInvisible Men.\u201d<\/i><\/small><\/p><div><p>\u200bWhen you buy a book using a link on this page, we receive a commission. Thank you for supporting<!-- --> <span>The Atlantic.<\/span><\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=1984\">Trump Attempts Patience<\/a><\/p><\/div><\/section>","protected":false},"excerpt":{"rendered":"<p>In his new novel, gay men struggle to escape violence in Kingston.<\/p>\n","protected":false},"author":1,"featured_media":1990,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[],"class_list":["post-1993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Marlon James Returns to Realism, and to Jamaica - Commercial Relocation Pros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/commercialrelocationpros.com\/?p=1993\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marlon James Returns to Realism, and to Jamaica - 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