“With every item she tossed into the washer’s gaping mouth, she dissected every sentence she could recall saying to Neela, analysing the implications of her words and how they might have been interpreted.”
The Subtweet by Vivek Shraya is an own-voices South Asian-Canadian contemporary novel about two uniquely separate musicians that formulate a friendship after one of them performs a cover of the other’s song and it goes viral. Their quick-formulated bond becomes a contrast of insecurities and miscommunication as the fame compounds into toxic envy. Then one moment of weakness and a startling subtweet later, careers are devastated, and friendships become utterly shattered.
The Subtweet was a novel that had a vastly unique premise and sounded unlike anything that I have ever read before, which is why I felt drawn to it. While it was extremely fast-paced and easy to consume in one sitting, by its finale I felt that the novel’s listed premise was inherently far-removed from its painfully one-dimensional execution.
Social media is the ultimate platform for networking in the modern day, however, it is also one of the swiftest ways to create havoc and chaos, particularly those built upon the recesses of miscommunication and missing facts. While I understood that this element would play a part in the conflict of The Subtweet’s story, as it does concentrate on virtually crafted camaraderie, what I did not foresee was it becoming the underlying foundation for every single ounce of harmfulness taking place in the book. Ultimately, this is one of my least favourite tropes of all-time, and I felt it became a tenuous excuse for uncertain narrative direction, more so when coupled with the thin level of critique on the subject matter and a severe lack of atmosphere.
Rukmini and Neela, the two protagonists of The Subtweet, are both incredibly unlikeable people, and one of the main reasons for this is that they are women in their thirties who behave like they are sixteen with their petty drama and consistent mistrust of one another’s loyalty to their outrageously fast-formed friendship. A handful of virtual messages and some poorly constructed face-to-face interactions later, they were best of friends, seemingly out of thin air. Not only did this feel entirely unrealistic, it also reeked of doubtful plot subtexts. If we look at them as separate individuals, then there is no development here either to assist in making them endearing, or to garner the reader’s empathy, or even sympathy, in the midst of the chaos that occurs when the hurtful subtweet goes live; a feat that astounded me given the heavy load of dialogue that takes place in the novel. They both provide monologues about the various aspects that make them feel invalidated and insecure in the friendship yet do absolutely nothing to remedy their concerns or allay their fears. This creates a stonewall of storytelling stagnation that sticks around from start to finish.
When the conflict occurs, as I mentioned earlier, it is based entirely on miscommunication. Rather than have an adult conversation to sort out the motives or anger that ultimately led to Neela’s string of hurtful words, Rukmini completely disappears from the picture, never to be heard of again. This was a terrible way to engage with a topic that is supposed to be under a critical lens and create the basis for a thought-provoking examination on the noxiousness that comes with having an online presence.
The Subtweet had a grocery list of themes that it wanted to explore. Some of these include the implications of diversity when a person of colour caters to White audiences’ fetishized perception of cultural content, or when White masses seek to wash away the nuances that separate diverse content as unique creative cultural installations; the vindictive dynamics that are prominent in female-centric friendships; critiques on how privilege plays a part in fame accumulation, especially when it steals credit away from original creators; and lastly, the harmful ways that social media can be manipulated to build overnight stardom, whether that was the desired effect or not. With so many various subjects to shine a decisive lens on, and then some, the book never touches any of it with more than a handful of lines referencing these things. Writing out a single statement admonishing a person for appeasing the White masses in lieu of cultural authenticity is not the same thing as having a crucial examination on the topic! If anything, all it does is admit a desire to do so but illustrate a complete lack of initiative to follow through.
The Subtweet was a book that was ambitious in scope, yet floundered into obscurity with the delivery, leaving behind an immensely frustrating and one-dimensional 200-pages of storytelling torpidity. One of the most fascinating novels of 2020 quickly turned into the most disappointing reading experience I have had in years. As such, I cannot recommend The Subtweet with good faith.
This review first appeared on my retired sibling blog, The Djinn Reader.
Publication Date: April 2020
Publisher: ECW Press
Genre: Contemporary Fiction
Page Count: 220
Content Warnings: Sexism. Racism. Social media bullying. Gaslighting. Anxiety. Heavy representation of toxic friendships.
GoodReads: The Subtweet by Vivek Shraya