“Smart, slippery . . . Ullman arranges her players efficiently. But what astounds is how she binds them to one another . . . It’s a narrative striptease. And Ullman has such fun with it.” —Parul Sehgal, The New York Times Book Review
“A thrilling page-turner of a book . . . Book clubs of America, take note. By Blood is what you should be reading. Ullman is someone we all should be reading.” —Ed Siegel, Newsday
“What is most distinctive about Ullman’s voice . . . is the way it sounds fully formed, mature both intellectually and emotionally.” —Jenny Davidson, Slate
“Like analysis, [By Blood] has urgency—as if, by talking and talking, a solution will be found. Like history, it extends in all directions . . . Like the best novels, it’s irresistible—twisty-turny, insightful, revelatory—funny when it’s tragic, and complicated when it’s funny.” —Minna Proctor, NPR.org
“A literary inquiry into identity and legacy . . . A gripping mystery . . . The storytelling is compelling and propulsive . . . Ullman is also a careful stylist.” —Carolyn Kellogg, The Los Angeles Times
“Rewarding . . . Deepy, lengthy and rewarding therapy is as close as most people get to reading their lives as a novel. Here is a novel that offers itself as a deepy, lengthy and rewarding version of a therapy. The memory of reading it remains quite intense.” —Alan Cheuse, The San Francisco Chronicle
“Marvelously creepy . . . A tricky thing to pull off but Ullman does it beautifully . . . [By Blood] speaks volumes about the way we think about the Jewish past.” —Adam Kirsch, Tablet
“A dark, brooding, and marvelous novel that doesn’t really resemble anything else, though disparate elements of it remind me of so many stories I love. The book combines a disturbing confessional intensity, as in Coetzee’s Disgrace, Lasdun’s Horned Man, and Tartt’s The Secret History, with a paranoid claustrophobia akin to that of The Conversation, Coppola’s surveillance masterpiece. Surprises from strange and terrible historical alleyways bring to mind Schlink’s The Reader and Juan Gabriel Vasquez’s, The Informers. And the philosophical underpinnings recall, in their unobtrusiveness and urgency, the best of Iris Murdoch.” —Maud Newton
“The writing is as sharp as the intellect it reveals, with a tension bordering on the manic.” —Evan Karp, SFArts.org
“A noir gem . . . Creepy-exciting and skillfully ironic at almost every turn . . . We jump into Ullman’s prose so we can be carried downstream, over the falls, into the past, rolled and jostled here, then there . . . [An] amazing novel.” —Merry Gangemi, Lambda Literary
"Ullman first earned praise for her memoir Close to the Machine (2001), about her experiences as a female programmer in the formative years of Silicon Valley, and followed that with an ambitious, Kafkaesque debut novel, The Bug (2003), which also drew from her experiences in computer-human interface. Nine years later, her second novel thematically interweaves fate, identity, obsession and genetics into a propulsive page-turner that shows a profound understanding of character. It’s a multilayered mystery (in the same way that Dostoyevsky was a mystery writer) and an inquiry into the subjective nature of narrative . . . A first-rate literary thriller of compelling psychological and philosophical depth." —Kirkus (starred review)
"An irresistible Hitchcockian page-turner." —Publishers Weekly
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
I did not cause her any harm. This was a great victory for me. At the end of it, I was a changed man. I am indebted to her; it was she who changed me, although I never learned her name.
My involvement with the young woman in question began several years ago, in the late summer of 1974, while I was on leave from the university. I sought to secure for myself a small office in the downtown business district of San Francisco, where I intended to prepare a series of lectures about The Eumenides—The Kindly Ones—the third play in Aeschylus’s great trilogy. A limited budget brought me to the edge of a rough, depressed neighborhood. And my first sighting of the prospective office building—eight begrimed gargoyles crouched beneath the parapet, their eyes eaten away by time—nearly caused me to retrace my steps.
Yet there was no question of my turning back. Immediately upon my arrival in San Francisco, a month earlier, a great gloom had descended upon me. I had arranged my leave in great haste; I knew no one in the area. And it must have been this isolation that had engendered in me a particularly obdurate spell of the nervous condition to which I had been subject since boyhood. Although I was then a grown man of fifty years, the illness, as ever, cast me back into the dark emotions of my preadolescence, as if I remained unchanged the desperate boy of twelve I had been. Indeed, the very purpose of the office was to act as a counterweight to this most recent spell, to get me dressed and out of the house, to force me to walk on public streets among people, to immerse myself, however anonymously, in the general hum of society; and in this way, perhaps, sustain the gestures of normal life.
It was therefore imperative that I do battle with my trepidations. I suppressed my fears of the neighborhood and my distress at the building’s dreary mien. We were in the midst of the Great Stagflation, I reminded myself. The whole city (indeed the entire country) had a blasted, exhausted air. Why should the building before me not be similarly afflicted? I therefore turned my gaze from the eyeless gargoyles, told myself there was no reason to be unnerved by the shuttered bar on the ground floor (whose sign creaked in San Francisco’s seemingly perpetual wind). Somewhat emboldened by these mental devices, I took the final steps to the entryway.
I opened the door to a flash of white: a lobby clad entirely in brilliant marble. So clean and smooth was this marble that one had the sudden impression of having entered a foreign landscape, a snowy whiteout, where depth perception was faulty. Through the glare I seemed to see three cherubs floating above the elevators, their eyes of black onyx, which, as I watched in fright, appeared to be moving. It took some moments to understand what hung before me: elevator floor indicators, in the form of bronze cherubs, their eyes circling to watch the floor numbers as the cars rose and fell.
To the right of the elevators was a stairway, above it a sign directing visitors to the manager’s office on the mezzanine. I climbed this short flight—its marble steps concave from years of wear—then I followed the manager into the elevator and rode with him up to the eighth floor (the cherubim ogling us, I imagined). He led me along hallways lined with great slabs of marble wainscoting, each four feet wide and as tall as an average man of the nineteenth century. Finally we stood before a door of tenderly varnished fruitwood, its fittings—knob, back plate, hinges, lock, mail slot—all oxidized to a burnt golden patina.
The room he showed me was very small. The desk, settee, and bookcase it contained were battered. The transom above the door had been painted shut. But I had already decided, on the strength of the building’s interior materials—clearly chosen to withstand the insult of time—that this would be my office. So with the manager’s agreement to restore the transom to working order, I signed a one-year lease, to commence in three days, the first of August. And then throughout the first weeks of my tenancy, while I struggled to regain my footing and begin my project, I was calmed by the currents of dark, cool air that flowed through the transom (the sort of mysterious air that seems to remain undisturbed for decades in the deep interiors of old buildings), and by the sight of the aged Hotel Palace across the way, where I could, in certain lights, see the doings of guests not prudent enough to close their shades.
Each weekday, I rode downtown on the streetcar, anticipating the pleasures of sitting at my desk, the rumble of the traffic eight stories below me. Before reaching the city center, however, one had to pass a grim procession of empty storefronts, vacant lots, and derelict buildings—a particularly blighted district. Nevertheless, despite the proliferation of such neighborhoods, the good San Franciscans seemed to rouse themselves each morning to perform at least the motions of civic life, producing an air (however false) of gainful industry. This impression of restorative public energy helped me to put myself aside, so to speak, and by month’s end I had made progress on my lectures, producing my first coherent set of notes.
Then, shortly after Labor Day, as I sat down to draft the first talk in the series, I found that the acoustical qualities of the office, previously so regenerative, had abruptly changed. Cutting through the pleasant social drone from the streets below, superseding it in both pitch and constancy, was an odd whirring sound, like wind rushing through a keyhole. And just audible above the whir, coming in uneven and therefore intrusive intervals, was a speaking voice, but only its sibilants and dentalizations—only the tongue and teeth, as it were. I am certain it was only the general darkness of my mood, but I felt there was something mocking and threatening in this sibilance, for the sound drew me to it the way a cat is lured—psst, psst—for drowning.
I jumped up from my desk determined to know the source of these intrusions. Immediately I suspected the doors to the adjoining offices. My room, small as it was, had two interior doors to what were once communicating offices, both doors now kept locked. Aside from noticing the fine wood of which they were made, I had paid these vestigial entryways no attention, as I had never heard anything issuing from them. Indeed, I had had no awareness of the other offices at all, my goal in securing my own room having been, as I have said, to find a place outside of my own life, so to speak, to immerse myself in a general, anonymous social sea.
Now forced to consider the reality of the tenants around me, I went out into the hall. The stenciled letters on the office door to my left identified its occupants as “Consulting Engineers.” I moved my ear closer and heard nothing, but through the frosted glass in the door’s upper portion (unlike my office, many doors retained their original etched-glass panels, with finely wrought patterns), I could make out two heads moving, as if over a desk or drafting table. The only odd thing I noticed about this office was that its number was out of sequence, being 803, whereas mine was 807, and my other neighbor’s 804. I then recalled the building manager saying, when I signed the lease, that tenants, as they changed offices over the years, were permitted to take their numbers with them as long as they remained on the same floor, their suite numbers obviously constituting some kind of property or identity. And indeed, as I looked around the hallway, I saw that the office numbers were a complete jumble, 832 next to 812 next to 887, and so on, indicating that the lessees had proved themselves loyal to the building and to the eighth floor but were otherwise restless and inconstant. I wondered for a moment if I should want to retain 807 in the event that I should move away from my neighbor, and I decided that I would, for there was something orderly in the descent from eight to seven passing around zero, and, in the number 7, perhaps an aura of luck.
Rousing myself from these distractions and resuming the surveillance of my neighbors, I came to the office on my right, number 804. As I drew closer, the whir became unmistakable, as did the voice. There was no glass panel in this door; its gold letters simply read, “Dora Schussler, Ph.D.”
I stood immobile in the hall for some seconds. My first association with the designation “Ph.D.” was that this Dr. Schussler should be an academic like myself, and that she and I should coexist quite well, her time being spent in the quiet pursuits of reading and writing. Why, then, was there this whirring, and this persistent hissing? And why hadn’t I heard it from the first, on the day I inspected what was then my still prospective office, thereby preventing me from being bound to such an incompatible neighbor?
These questions (posed to myself with an aggrieved, affronted, indignant air) distracted me from seeing the truth of my situation, which became clear only as I stared at the swirls of the ancient, wear-darkened broadloom that lined the hall. I recalled the first time I had ever heard a sound like the one issuing from Dr. Schussler’s office, which had been many years ago, in the office of one of the many therapists I had had reason to visit during the course of my life. In the waiting area, there had been a small beige plastic machine, placed on the floor, which had given off just such a whir, its role being to blur the clarity of the spoken word that might be audible from the therapeutic offices, thereby preventing anyone, as he waited, from understanding what was being said within (though I myself, still a young man, often tried to overhear, telling myself such curiosity was natural). With great force, the whole period of time surrounding my meetings with the psychotherapist came back to me, and I could see quite clearly the little yellow lamp...