“Trust” explores the power of money, and of storytelling

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“Trust” explores the power of money, and of storytelling
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How accurate are the stories people tell about themselves and others? These questions animate “Trust”, Hernan Diaz’s clever puzzle of a new novel

Save time by listening to our audio articles as you multitaskWho gets to tell Mildred’s story now that she is not around to tell it for herself? How accurate are any of the stories people tell about themselves and others anyway? These questions animate “Trust”, Hernan Diaz’s clever puzzle of a new novel.

As he demonstrated in 2017 with “In the Distance”, a debut which chronicled the rough and tumble of 19th-century America through the eyes of a young Swede with no English, Mr Diaz is not afraid to disorientate readers.

The title is a nod to Bevel’s wealth. But it also evokes the fragile feeling that is frequently missing from relationships, including between storytellers and audiences. As Bevel gamely admits, self- interest nudges people to “bend and align reality” to accord with needs or desires. “Trust” dramatises the way such truth-bending often accompanies tales of wealth. “What I’ve made, I’ve made on my own,” says Bevel, who inherited a fortune. The novel also highlights the way history’s dominant storytellers—mostly white and male—have tended to sideline the narratives of others, such as women. As Partenza writes of her affinity with Mildred: “We both were young women trying to grow in narrow crevices, hoping to break and expand them in the process.

Mr Diaz shifts elegantly between styles, but saves the most engaging voices for the novel’s second half. Partenza’s memories of being cowed by Bevel’s money and authority, and her nostalgia for her “overbearing and dysfunctional” father, inject depth, momentum and clarity. The only shame is Mr Diaz’s pat ending, which gives too much of the game away.

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