Winner of the 2015 Driftless Novella Prize from Brain Mill Press.
Technologies of the Self is forthcoming from Brain Mill Press. It contains sex, drugs, and bachata. Also violence. And this dude who’s a time-travelling demonic conquistador. He’s “the realest f–ing space knight I ever saw,” according to the narrator’s uncle. The story is a characterization of modernity. It’s about law and the state, movement and history, love and robots, plátanos and re-enchantment (wait, those aren’t the same thing?).
Buffalo Almanack founding editor Maxine Vande Vaarst and Mary Ann Rivers and Ruthie Knox of Brain Mill Press host a roundtable discussion on Technologies of the Self and my short story, “Forty-two Reasons,” which won the McSweeney’s Student Short Story Contest and the Inkslinger Award. Read it on “Woodshop Talk” in Buffalo Almanack (pages 35-44 on issuu), on the Buffalo Almanack page, or at the Brain Mill Press page.
First review at Media Diversified by Micah Yongo.
Interview at Spread the Word by Sara Jafari.
“(Re)writing Pasts and Futures” panel at Bare Lit Festival for writers of colour in London with Zen Cho, Tosin Coker, and Tendai Huchu, and moderated by Patrick Vernon. The New York Times featured the festival, and Indiewire singled out the panel as “one of the festival’s signature events.” Bare Lit is the first literary festival for writers of color in the U.K. Run by Media Diversified.
“A confident, wildly inventive debut, not to mention fizzy and fun and funny as hell – one of the best I have read in a long time.” – H.M. Naqvi, author of Home Boy
“Haris Durrani’s wonderful tale is as much about family, jobs, friends and growing up as it is about demons, time travel, and God–and that’s as it should be. Rich, humane, funny and outlandish, it presages a great career for a young writer with lavish gifts and a generous spirit.” — John Crowley, author of Little, Big
“Haris Durrani’s debut is both a quirky coming-of-age story and a meditation on the technologies we use to make ourselves: immigration, religious conversion, science fiction, sex. It’s so true to mixed experience, it feels defiant.” – Sofia Samatar, winner of the World Fantasy Award
“A subtle and controlled gaze at the contemporary coming-of-age that trusts the reader to travel across time and science. Prerequisites in demonology and philosophy not required but are recommended. This is the kind of yes-yes world-embracing story-telling to challenge plastic realism and announce a writer.” – Ali Eteraz, author of Native Believer
“Technologies of the Self is brave and ruthless, gorgeous, and delicious. It is really magical and magically real: an unfiltered, unapologetic, and unforgettable narrative.” – Daniel José Older, author of Shadowshaper and the Bone Street Rumba series
“Fantastic, taut, lyrical, funny, and vivid—a family history of faith, time travel, and selfhood in the face of saints and demons.” – Max Gladstone, author of Last First Snow
“Durrani’s writing is clever and current, beach reading for the justifiably paranoid. These are stories about colonialism, neoliberalism, conspiracy bullshit, and a Trumped-out America at the gates of hell, which is why I find it such a miracle that they’ve got so much time for family dinners and high school romances, too. Durrani’s mix of pulp culture, diaspora angst, and world/family history is so precise, I can’t help but think of Junot Díaz. And that’s not a superficial comparison—the writing is there, too. That’s the potential I see.” — Maxine Allison Vande Vaarst, Buffalo Almanack
“Santiago is terrifying, mysterious, thrilling, terrible, and we aren’t even sure if he’s real, but we know he has to be defeated. How hard is that for a writer, an artist, to pull off? That punch in our belly of motivation and power and interest to a worthy quest? That’s why Durrani’s work is, first, page-turning. It appeals to our best and strongest impulses, and before we know it, we are getting awakened to all kinds of things that, before, were sleeping and unlit.” — Mary Ann Rivers and Ruthie Knox, Brain Mill Press
In this timely and instantly notable fiction debut, Haris Durrani immerses readers in the life of a young American Muslim struggling to understand himself in the context of his family, classmates, and contemporary urban life.
Engineering student Jihad, or “Joe” as he introduces himself in the confusing intersections of post 9/11 New York City, finds himself on a personal quest of possibly a spiritual nature, even if he isn’t sure that’s what it is – after all, it’s hard enough to keep halal in his Dominican-Pakistani-Muslim Washington Heights household.
He’s surprised to find himself in the stories his Uncle Tomás tells of his own youth, stories in which Tomás fights both the devil and the weaknesses of the flesh – often at the same time. Culture, nation, religion, family, identity, race, and time fight for dominion over Jihad until he realizes he is facing the same demon his uncle claims to have defeated, and all Jihad has to fight with is himself.