Azareen Van Der Vliet Oloomi is the author of Fra Keeler (Dorothy, a publishing project, 2012) and Call Me Zebra (Houghton Mifflin Harcourt, 2018). She is the recipient of a 2015 Whiting Award in Fiction, a National Book Foundation "5 Under 35" honoree, the recipient of a MacDowell Fellowship, and a Fulbright Fellowship in Fiction to Catalonia, Spain. Her work has appeared in The New York Times, The Paris Review, GRANTA, Guernica, BOMB, Words Without Borders, and the Los Angeles Review of Books Quarterly Journal, among other places. In 2015 Fra Keeler was published in Italian by Giulio Perrone Editore. Van Der Vliet Oloomi has lived in Iran, Spain, Italy, the United Arab Emirates, and currently teaches in the M.F.A. Program in Creative Writing at the University of Notre Dame. She splits her time between South Bend, Indiana and Florence, Italy.
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Fra KeelerA Novel
When I bent down to stack the papers, I thought the sensation I had had in my brain earlier was the same sensation I had once felt when I shook a pomegranate near my ear. Or, not exactly a sensation, but a sound. That when I shook the pomegranate it had made the same sound as the sound my blood made when it swiveled in my brain, and that both sounds led to the same sensation: of something having dissolved where it shouldn’t have. I went over the memory, from when I picked up the pomegranate to when I shook it near my ear: I had squeezed the pomegranate by rolling it, had pressed into it with my thumbs, juiced it without cracking it open, because it’s the only way to juice a pomegranate without any special machines. All the juice was swiveling about inside the shell of the pomegranate, channeling its way around the seeds the way river water channels itself around driftwood. When I put the pomegranate down I could still hear the juice working its way around the seeds that were dead without their pulp. I had squeezed the pomegranate till the pulp was dead. I could invent a machine to juice pomegranates, I thought, and not just pomegranates but persimmons too, some very basic, cheap tool people could use in their homes, and then I imagined a thousand people, all wearing their house slippers, juicing their pomegranates and persimmons for breakfast, and I thought, never mind, no doubt someone has already invented it.
Fra Keeler:A Novel -
Fra KeelerA Novel
Everything slowed down. There is a last time, I thought, for everything. I began to dream. In my dream, everything faded. A last moment, a last breath. The world closing down around the thing. A mouth closing around an object. The sky closing in on a body. Everything folds into darkness. People die, objects cease to exist, trees vanish. I felt my heart skip up to my throat in the space of my dream. I am choking, I thought.
Fra Keeler:A Novel -
Fra KeelerA Novel
Just then I propped myself up on one elbow, and saw a puddle a few feet away. It had certainly rained. The fact that it had rained, and that I had suspected as much, gave me courage. I should get up, I thought, and then I thought the light from the sun is amber, even though when I was lying down it was more see-through gold, but now, propped up on my elbow, I thought to myself, I can see that it is amber, thick and dense as honeyed milk. But I couldn’t get up, despite the light and all its tricks of color, because the realization that I could go to sleep not blind and wake up blind stirred in me a severe distrust. Because when something happens once, I thought to myself, there is no telling that it will not happen again. Because that something has carved a pathway for itself in the world, regardless of consequence or prior event. As in, an event can happen without any prerequisites, which is to say that one can go to sleep not blind and wake up blind. Which is to say there is such a thing as an event without predecessors, a phantom event, an event out of nowhere, I thought, and sealed my lips.
Fra Keeler:A Novel
“Unreliability is central to Fra Keeler, Azareen Van der Vliet Oloomi's exciting debut from the tiny Dorothy Project imprint. It's a stunning psychological thriller, a total identification with madness that creates drama without either belittling or romanticizing the insane . . . the canny narrator's thoughts, which reel and falter as incidents accumulate, sustain a note of drama—and blessedly, humor—that provide the novel with the manic energy and tensile strength to pull it along toward its mystifying, violent end.” —Jenny Hendrix, Los Angeles Times
“Oloomi enters so fully and sympathetically into the mad logic of her narrator that scenic detail, chronology, cause and effect, and even such mundane props as cactus, mailman, and ringing phone are bent, doubled, or subsumed by the paranoid geometries of meaning she draws . . . Subtly menacing, but not without humor, the novel derives momentum and tension from the space between its clear, intelligent language and the absolute unreliability of its narrator.” —Slate [on Fra Keeler]
“Van der Vliet Oloomi’s debut novel turns out to be a surrealist triumph . . . the protagonist wrestles with issues of sanity, madness, life, death, and happiness. This short but substantial novel both celebrates the process of thinking and offers cautions about the perils of our inner monologues. A rare gem of a book that begs to be read again.” —Publishers Weekly [on Fra Keeler]
“Obsessive/delightful, Fra Keeler subtly elaborates on life’s details, its ordinary lunacies. Azareen Van der Vliet Oloomi’s observations are droll and often hilarious. Her novel’s incidents pile up and on, tilting and shifting under the weight of language’s bizarre disturbances. Fra Keeler is wonderfully imaginative, the work of a terrific young writer.” —Lynne Tillman
Selected Works
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Azareen Van Der Vliet Oloomi writes sentences that are crisp and formal, but the madness they depict is anything but. Her ambition of taking you inside a completely unreliable narrator never compromises her strong narrative drive. Controlled yet bizarre, it pulls you in. The judges admired her courage and formal daring, and the underpinnings of discipline that allow words to recur like waves on the shore while always seeming new.