While we now use it to mean a fuss or convoluted mess, the origins of the word palaver, the title of Bryan Washington’s third novel, lie in the Portuguese term palavra, which simply means “word”. Over time, and possibly coloured by the historical context of Portuguese colonists’ rampages across the globe, “palaver” came to refer to a complex debate or negotiation between two culturally distinct parties.
Culture clashes, conflicted conversations, oppositions and exchanges are principal interests for Washington. His debut novel, 2020’s Memorial, was a sobering but sensitive consideration of a fracturing interracial gay relationship set between Houston and Osaka. This was followed in 2023 by Family Meal, again taking place in Houston, with its pithy observations of a combustible queer love triangle. Palaver centres on the tense relationship between protagonists “the son” and “the mother”. Guarded and prickly, the son is an American who has lived in Tokyo for the best part of a decade, teaching English as a foreign language. Throughout this period, he’s been estranged from his Jamaican-American mother back home in Texas. The novel opens with the equally crabby mother unexpectedly turning up on her son’s doorstep, and mostly covers the week and a half they spend together, moving between their two perspectives. Illuminated by Tokyo’s harsh neon, mother and son edge around reckonings with their bitter past of familial dysfunction, and make their way towards something resembling rapprochement.
