In her initial foray into novel writing with “The Coin”, Yasmin Zaher tells the gripping tale of a Palestinian woman who departs from her native land to reside in the grimy, post-2016 existence of New York. She is hopelessly seeking a legitimate experience and better comprehension of her potential self. This relentless pursuit of self-identity culminates in an audacious, impudent novel skillfully crafted with notable confidence and artistry.
The novel’s nameless first-person narrator, a seemingly well-off Palestinian expat, progressively loses her grip on reality. Yet, the author’s distinct writing style lends form and coherence to the wildly unpredictable narrative, following an elementary school teacher with an obsessive compulsion for cleanliness.
Initially, the protagonist comes off as indulgently quirky, unafraid to express herself and stand by her convictions, sometimes through provocative and politically incorrect remarks. From the outset, she demonstrates a staunchly independent demeanour, stating: “I believed there was no superior sensation in this universe than exiting work to stroll down a Manhattan street, doused in an aggressive scent, with no one left behind at home to anticipate your return.”
However, as the narrative progresses, Zaher disrupts our perceptions as her lead character engages in progressively unstable and perilous behaviours. The work conjures up similarities with Jen Beagin, Nell Zink, and “Old Romantics”, a debut piece by Irish author Maggie Armstrong. Similar to these works, “The Coin” is provocative, vibrant, and laden with humour used to shed light on serious subject matters.
At its bleakest, Zaher’s novel carries an air of Sylvia Plath, the visceral expression of a young woman at the edge, confronting the world’s insanity. “The Coin”, a novel about a Palestinian woman navigating her life in New York, is an undoubtedly erratic yet ingenious creation by Yasmin Zaher.
Zaher, a Palestinian writer hailing from the world of journalism, boasts an impressive education with a biomedical engineering degree from Yale University and an MFA from The New School, under the guidance of Katie Kitamura. She currently resides in Paris city. Her debut work, embodied with sensual and distinctive prose, offers deep-seated insights, including an impactful notion that the nature of art is intertwined with individual experience and personal taste, which should always remain unquestioned and unaltered.
The narrative deftly intertwines references to lavish brands, representing wealth and status, whilst simultaneously critiquing the absurdity of brand capitalism. Despite the protagonist’s enviable collection featuring a Burberry trench coat, Cucinelli cashmere, and high-end Chloé pants, her understanding of the outrageous prices mirrors the absurdity of the situation.
Taking a dig at the high life, she cites the example of Zurich-based high-fashion brand Vetements. Known for hawking overpriced sweatshop hoodies to the affluent youth desirous of mimicking a working-class look, the brand’s ethos seems to be ‘Ugly Is Beautiful.’ In a humorous turn of events midway through the book, Zaher’s protagonist gets embroiled in a get-rich scheme with a homeless man intending to profit off the famous Birkin handbags from Hermès, despite global tragedies; the price of which only escalates every year.
Zaher also explores the protagonist’s teaching role. Her unconventional teaching style, penchant for impromptu free classes (sometimes just for a nap), and risky experiences encouraged among students provide comic relief. Yet, not all is fun and games, as the difficult circumstances of her pupils, primarily black and immigrant youths, and their unwavering ambition to improve their lives tug at heartstrings. Their representation in society, mostly confined to subway ads and seldom occupying billboards, presents a stark reality.
As the storyline of the book unfolds, the central character begins to isolate herself from not just her social circle, which comprises her acquaintances, romantic interests, collaborators, and students, but also embarks on a journey to confront her harrowing history; a history that no amount of obsessive cleanliness can erase. This journey is not solely a personal quest, but also a political one that is rooted in an account of familial misfortune and the story of homeless Palestinians. The events occurring within the confines of the central character’s dwelling become increasingly odd and encourage both the character and her readers to confront reality.
The ‘coin’, as referred to in the title, is a corporeal entity that the central character perceives she assimilated during her childhood and is compelled to bring to the fore as Zaher probes the notion of civilisation in our progressively disintegrated and troubled world. The lead character contemplates, “Nature is without stain, but civilisation is what soils”. The concluding section of this intensely fascinating narrative illustrates the character’s desperate quest for refuge, a personal haven where she can at last establish her footing.