Get Lit: Laila Lalami on 'The Dream Hotel'

Summary

Podcast Summary: All Of It – "Get Lit: Laila Lalami on 'The Dream Hotel'"

Introduction

In the episode titled "Get Lit: Laila Lalami on 'The Dream Hotel'," hosted by Alison Stewart on WNYC's All Of It podcast, celebrated author Laila Lalami delves into her latest novel, The Dream Hotel. This episode, recorded on May 9, 2025, offers a comprehensive exploration of the book's themes, character development, and the societal implications of advanced surveillance technologies. Engaging a sold-out audience at the Stavros Niarchos Foundation Library, Lalami provides insightful perspectives on her work, enriched by audience questions and her personal reflections.

Overview of The Dream Hotel

The Dream Hotel presents a near-future dystopian society where an AI algorithm analyzes individuals' dreams to predict potential criminal behavior. The protagonist, Sara, a new mother of twins, inadvertently becomes a target after using a device meant to enhance her sleep quality. Misinterpreting her dreams, the AI brands her as a future threat, leading to her detention at a facility known as Madison. The novel scrutinizes themes such as surveillance capitalism, the flaws within the justice system, the efficacy of protest, and the ethical dimensions of artificial intelligence.

Character Development and Gender Dynamics

Initially, Lalami had envisioned the protagonist as a man. However, she made a pivotal change to a female character to better explore gender-based surveillance and control. As Lalami explains at [01:54], "I thought, well, this is interesting because obviously I'm taking the world of technological surveillance to its absurd limit... one of the most basic forms of control that we have in our society is sort of like this gender-based form of control, AKA the patriarchy." This shift allowed her to delve deeper into how societal expectations and internalized behaviors affect women differently under pervasive surveillance.

Setting and Technological Plausibility

Lalami chose to set the novel approximately 20 years into the future to maintain a sense of realism and plausibility. At [04:15], she states, "Twenty years into the future is just about far enough that none of us know what kind of technology will exist. The entire world that we now live in... it felt to me that picking a time that is about 20 years in the future would give me the ability to create a world that felt extremely real and plausible and frightening."

Surveillance and Privacy Concerns

A central theme of The Dream Hotel is the erosion of privacy through technological advancements. Lalami articulates her concerns at [06:18]: "We're trading our freedoms and even our free will... for the convenience of being able to... see the faces of loved ones and stay connected." She emphasizes the dangers of unchecked data collection and the potential for such technologies to be exploited by both corporations and governments, leading to a loss of individual autonomy.

Madison Retention Center: A Symbol of Control

Madison, the retention center where Sara is held, serves as a microcosm of the broader societal control mechanisms. Lalami describes the facility's creation, mirroring the disinvestment in education and community support, at [19:24]: "It's about this continual and just ever-increasing investment in punishment... rather than in nurturing people and educating and taking care of them."

Language as a Tool of Control

Lalami highlights the manipulation of language as a means to normalize oppressive systems. At [10:37], she explains, "Language is like one of the primary sites of our arguments about politics... To get people to accept that people are being detained for no crime, the language around it had to change." By renaming detention centers to "retention centers," the narrative becomes less accusatory, facilitating broader acceptance of invasive practices.

Technological Surveillance and Identity

Sara's Arab American identity plays a crucial role in her detention. Lalami discusses how appearance and societal biases influence surveillance practices at [12:44]: "Some people, by virtue of their appearance... are going to be more noticeable to law enforcement... It's because she dared to name that thing... that everything starts to go wrong." This underscores the intersectionality of technology and systemic bias.

Author’s Personal Reflections on Technology

Lalami shares her personal relationship with technology, revealing attempts to minimize unnecessary digital engagement. At [28:56], she mentions, "I take the trouble... to decline everything... I use VPN when I can... I'm done with promoting this book, is to kind of quit social media altogether." Her reflections add depth to the novel's exploration of technological dependence and resistance.

Audience Engagement and Questions

The sold-out audience engaged with Lalami through thought-provoking questions. One audience member at [25:20] inquired about the possibility of a sequel, to which Lalami responded thoughtfully, contemplating future narratives that might explore the broader societal impacts of the retention centers and the lives of those who opt out of the surveillance system.

Another audience member raised concerns about the plausibility of completely removing oneself from technological surveillance ([29:07]). Lalami reiterated that while individual actions are vital, collective efforts and systemic changes, such as a digital bill of rights, are essential to effectively combat surveillance overreach.

Themes of Trust and Reality

The novel challenges readers to question the reliability of their perceptions under constant surveillance. Lalami explains at [21:56], "When you are continually observed... you start to doubt yourself... Do I trust this subjective narrative or the objective data?" This tension between subjective experience and objective monitoring forms the crux of Sara's psychological struggle within Madison.

Conclusion

In this episode of All Of It, Laila Lalami provides a nuanced examination of The Dream Hotel, blending her personal experiences with speculative fiction to highlight pressing societal issues. Through in-depth discussions on gender, surveillance, language manipulation, and personal agency, Lalami invites listeners to reflect on the delicate balance between technological convenience and the preservation of individual freedoms. The conversation not only sheds light on the novel's intricate narrative but also resonates with broader concerns about the future of privacy and autonomy in an increasingly monitored world.

Notable Quotes

• Laila Lalami [02:04]: "We're taking the world of technological surveillance to its absurd limit... one of the most basic forms of control that we have in our society is sort of like this gender-based form of control, AKA the patriarchy."

• Laila Lalami [04:24]: "Picking a time that is about 20 years in the future would give me the ability to create a world that felt extremely real and plausible and frightening."

• Laila Lalami [10:37]: "Language is like one of the primary sites of our arguments about politics... To get people to accept that people are being detained for no crime, the language around it had to change."

• Laila Lalami [17:43]: "Do you own your body and do you own the rights to all of the data that it emits? To my mind, the question is very simple. Yes."

• Laila Lalami [28:56]: "I try to cut as much as I can to unnecessary technology... I think the information environment has gotten really... dangerous."

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This detailed summary encapsulates the essence of the podcast episode, providing listeners with a thorough understanding of Laila Lalami's discussions about The Dream Hotel, its thematic concerns, and the author's perspectives on surveillance and personal autonomy.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy to see if you could save when you bundle your home and auto policies. Try [e-mail] Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states. You are listening to all of it on wnyc. I'm Alison Stewart. In the latest novel from celebrated author Leila Lalamy, a woman is held in a retention center all because of her dreams. Sara is a new mom to twins. She is exhausted, so she signs up for a device that would help her feel more rested on a few hours of sleep. But she didn't read the fine print. Now an AI algorithm has analyzed her dreams and determined that she is at risk of harming her husband, a man she loves dearly. She's stopped at an LA airport and sent to a retention center called Madison. The women in Madison are there to prove that they aren't likely to commit crimes in the future. But as weeks stretch into months, Sara and her fellow retainees begin to wonder if there is really any way to prove they are innocent of crimes that haven't even happened yet. The novel is titled the Dream Hotel. It's a timely examination of surveillance capitalism, our flawed justice system, the effectiveness of protest, and the future of artificial intelligence. It was our April get lit with all of it book club selection. Author Leila Lalamy joined us in front of a sold out crowd at the Stavros Niarchos Foundation Library. Here's part of that conversation.

[Leila Lalami]

I read that originally the protagonist was a man. Is that true?

Yes.

When did it change to a woman?

It changed after the first draft. What happened was I had written about this, I had created this world, I had sent this character into this kind of in between space that functions like a prison, but it's not really a prison because you haven't committed any crime. You're not actually being held. You're just being, you know, kept under observation for a period that seems to get extended with every minor infraction. After I finished that initial draft, I sat back and I looked and I thought, okay, well this is interesting because obviously I'm taking the world of technological surveillance to its absurd limit. Like, what if it could penetrate the subconscious? But I'm not looking at surveillance with a broad enough lens. If I were to look at it with the, you know, like what is the role that it plays in various systems of control? Not just technological control, but other systems. And I thought, well, what am I thinking one of the most basic forms of control that we have in our society is sort of like this gender based form of control, AKA the patriarchy. And that really kind of makes women feel constantly under surveillance where constantly like self disciplining things like our looks and our weights and our behaviors in society and how loud our voices are or how quiet or how we behave. Like we. We're constantly policing ourselves. And that's because we've internalized a lot of these behaviors that are expected of us. And so I thought, well, obviously I have to go back to square one and rewrite the whole thing as, you know, with a woman character. And so that's how it started.

The book is set in the near future. And I made a joke because you refer to the aging playwright Lynn Nottage. We're the same age.

It's in the future, we're all aging. It's a lot of fun. Everyone's doing it. And she's going to continue producing plays in this future. I'm a big fan, that's why.

About what year did you consider it to be?

Probably about 20 years into the future.

Why did you pick 20 years? What was it about that period of time?

Yeah, that's a really great question. When I was thinking about writing this idea of like dream surveillance, I wasn't imagining that it would be in a future of flying cars or like inter galactic travel or something like that. I wanted it to be to read like horror. To read as it's like something that could actually happen to us. Twenty years into the future is just about far enough that none of us know what kind of technology will exist. The entire world that we now live in, all the phones that we have in our pockets, we've learned to live with them over the last 20 years. So it felt to me that picking a time that is about 20 years in the future would give me the ability to create a world that felt extremely real and plausible and frightening and that it would actually be enough room to explore this world of surveillance to its limit.

That's what was so scary about it. You know, I was thinking as I was walking over here, if someone had said to me 10 years ago, I'm gonna slack you about a zoom.

I've been.

What are you. What are you talking about?

[Alison Stewart]

Right.

[Leila Lalami]

But how prevalent it is in our lives now.

Yeah. And I mean, I think if you even told somebody 20 years ago that we're gonna live in a world where, you know, a bunch of corporations and potentially the government could have access to your location to Every single text that you write to every picture that you take, to every email that you write, you'd be like, what is this sort of totalitarian system that you're talking about? But because it happened incrementally and because the information is kind of in different hands in different companies hands, like we are not seeing the sort of broader danger there that it could very easily be integrated and fall into less than democratic hands.

What kind of technology did you want to explore in this book?

Mostly surveillance technology. Like the idea that we are willingly trading things like our freedoms and even our free will, our ability to make decisions entirely based on our good judgment. And we're trading that for the convenience of being able to. For wonderful conveniences. I mean, faces, right? The ability to make a phone call with a loved one who's like 3,000 miles away and to be able to see their face and to be able to see how well they are. And you know, it's just an incredible level of convenience and connection that these devices are delivering to us. But of course, you know, there is a great danger also to our freedom.

In the book, we're told that some of the technologies to prevent crime, and you point to fatal shooting at a Super bowl, and it reminded me a little bit of the patriot act after 9, 11. What did you want to examine in the book about our concerns about crime?

I mean, I think part of the reason that I chose to do it this way is that I feel that one of the biggest indicators of what will happen in the future is what has happened in the past. The past is really only a collection of futures that did happen. And, and you know, human beings don't change, right? We have the same instincts, the same emotions, generation after generation. So it seemed plausible to me that if we had, you know, like an event of the kind that I describe in the book, that we would go into this world of pre crime. And I'm already going off on a tangent and I forgot what your question was.

You were answering it.

Okay. Okay, good. Okay. Yeah, so, so that's, that's, that's kind of one of the ideas behind it is that it wouldn't take much for a government to then put forward a piece of legislation that would take us into pre crime territory. Everything is kind of already set for it. And in fact, pre crime is not something that happens in the future. It's something that is existing already. So policies like stop and frisk could very easily be considered stopped policies of pre crime. And we tolerate them. So why would we not tolerate something that would take us even further and deprive more people of their privacy for the sake of safety. That just seemed very plausible to me.

What did Sara think about the Risk Assessment Administration? Before she's retained, what did she think about it?

Well, she thought, here's the thing. It's very hard to notice the electricity when it's on. When everything's working in your home, think, oh, how wonderful that I have electricity in my home. Right? But if one day you go without it, then you notice, you know, you can't, you know, use the. Run the laundry, and you can't. You know, everything is breaking. You can. Your food is rotting. And when you have failures of government, you see them only when they're, you know, when things stop working, that's when you notice it. So with the Risk Assessment Administration, I would say this isn't an agency that my character has given much thought to. It is an agency that is sort of just part of the world that she lives in, just as Homeland Security is part of the world that we live in. And it wasn't there 25 years ago. So it's just an agency that exists and is basically looking to prevent as much crime as possible and to keep people feeling safe in their homes. So she doesn't think about it. But then when she gets pulled aside and gets through this whole experience, then she realizes, wait a minute, I'm innocent. What is going on here? And it's really this sort of journey of exploration with the consequences of that administration.

It's interesting. As I was typing up questions, every time I put in retention center, it changed it to detention center, and I had to go back and change it. I was like, oh, it's coming for me. The spell check is coming for me. Why did you choose to call them retention centers? And how often do people make that mistake and say to you, oh, your detention centers in your books?

Yeah, Well, I feel like, you know, as a writer, I feel like language is like one of the primary sites of our arguments about politics and our arguments about what is right and what is wrong. And one of the ways is in which we are made to accept things that are unacceptable is by corrupting language. So, for example, to go back, since we just brought up the Patriot Act, I might as well travel back to the early 2000s, when we had detainees in Guantanamo Bay and we were told that they were undergoing enhanced interrogation. And that just became the phrase that was used in the news media rather than using the accurate descriptor of torture. And there is this constant fight, you See it continually in the news. Like, for example, when I was growing up, you heard constantly the occupied Palestinian territories was the phrase that the United nations used and that was used in news media. And then it became the west bank and Gaza, or now it's become the dispute disputed territories. So little, bit by bit, we see that language gets changed and it changes our perception. And so it seemed to me in this future, if I was going to make this world of pre crime feel inevitable, it seemed to me that language had to be a part of it. And to get people to accept that people are being detained for no crime, that people are being detained because they might commit crimes, then even the language around it had to change. And instead of detention, it had to be something else. And I thought, okay, well, retention is close enough and something that I could play with. And so that's what I said.

So Sarah is retained at the airport. She stopped by these officers. It looks like she's going to get off. But she suggests to them that they have racially profiled her through her last name, Hussein. How does her Arab Americanness, her Arabic American identity, factor into this interaction at the airport?

Well, it's one of the inciting reasons for her to be pulled into retention. One of the things about technological surveillance that I think is really unique is that it is universal, almost or near universal. In order to function in our society today, you pretty much need to have a device of some kind, right? Like to ride the subway or everything, to communicate with others. You need these devices. There is a sense in which technological surveillance is universal, but universal does not mean neutral. We, all of us, can be subject to technological surveillance. But the sort of discipline that comes from that surveillance and the control that follows from that discipline is something that is not applied equally to everybody. And some people, by virtue of their appearance, with the sort of signs that their bodies emit, are going to be more noticeable, quote, unquote, to law enforcement. If you're in an airport and your last name is Hussein, you are getting looked at a little bit more carefully. And I can attest to you that that happens to me on almost every trip. They look at you a little bit more carefully. And so it felt that, I think my character felt because she's in an airport, that that was something that played a role in her being asked all of these questions. And it was her refusal and her pointing out that sort of lack of neutrality that brought all this trouble upon her. It's because she dared to name that thing. She dared to say, you're pulling me Aside, you're putting me through this because of that and because she said that then sort of shifts the atmosphere and everything starts to go wrong.

Dream saver. It sounds like an amazing thing. If you're the mother of twins, you sign up for it, it can help you get extra sleep. Sarah doesn't quite fully look at the terms and conditions of signing up for it. It seems like an okay deal. How did you decide dreams, like the unconscious mind, would be sort of the final frontier of privacy?

Well, it was because of personal experience. I was, you know, I'm an insomniac and, you know, I oftentimes don't fall asleep until the early hours of the morning. And one day about 10 years ago, I had overslept and I reached for my phone and I saw a notification that said if you. Because it reached for my phone to look at the time, and I saw a Google notification that said, if you leave right now, you will make it to the name of my Yoga Studio at 7:28. And of course, I had never told Google what day of the week or what time of day or even that I went to yoga. But of course, the company was following my movement and had learned that every Tuesday and every Thursday at the same time, I went to that location that it's mapping software, I said, was a yoga studio. And I was understandably disturbed, disturbed by this. And I turned to my husband and I said, you know, pretty soon the only privacy we're going to have is going to be in our dreams. It was kind of like as a joke. And then I thought, but wait a minute, you know, what if someday we continue developing technologies that collect. Because we already have technologies that are collecting data about our movements. Even the sort of your gait and how long each step is. We have, as I mentioned, texts and emails and pictures, medical data, periods, you know, all of this data is being collected by these apps, you know, so why not imagine that that data collection might penetrate the world of the subconscious? I can tell you that scientists are already imagining, you know, you know, ways to study the subconscious. And. And they are seeing data from that. And. And I think that's, you know, there's nothing wrong with that. Human curiosity is a good thing, and scientific innovation is a wonderful thing. Even technological innovation is a wonderful thing. The question is, it's really a question about rights. Do you own your body and do you own the rights to all of the data that it emits? To my mind, the question is a very simple. It's a very simple. Yes. Like, this is My body and the data that it emits is, is mine. But the devices that we use. What's really happened is that these tech companies have laid claim to that data because of the fact that they're giving us that convenience and that connection. They have laid claim to that data and claim it as their own. And so that really is the question for me. It's not really about whether technology is good or bad that we have technology.

It was interesting because Sarah becomes obsessed with this woman who's gone off the grid.

Yes. It is a fantasy that I have too. That's.

Well, I was gonna ask you, how long did it take you to figure out how to get her off the grid? How many things did she have to give up?

I know so often I'm doom scrolling, you know, and during the writing of this book, I would be doom scrolling and I would be thinking how wonderful it'd be to just be in a kitchen, cabin, you know, and no technology and I can finally be free. And then of course, you know, I, you know, I, I know who the Unabomber is and I know how well that turned out. So I, you know, I just have no, no illusions about that. But also I think that, you know, survival is not something that can happen on to an individual by themselves. Like we are as social species, right? We are meant to survive by helping one another and working in community. You know, no single person has all of the, the skills and the tools and the creativity and everything that is necessary to survive on their own. Even if they did, they're going to want companionship. Right? So, so it's just, it's kind of, you know, but the fantasy remains, Right. I still have that fantasy at the back of my mind because I get so tired of the technology. I get so, you know, frightened about where it might be going. That, that is a fantasy that I still like to entertain from time to time.

I hope you write a book about that woman. I hope that's the next one maybe. So Sarah is retained to a retention center.

Yes.

[Alison Stewart]

Madison.

[Leila Lalami]

How did you decide what Madison would be like?

Yeah, that's a great question. So the image that I had when I first started with that first draft was just a room and this person going out and having device checked. That's the first scene in the book that hasn't changed during all of the different drafts. I then started to think more broadly, like, what kind of a facility is it and where might it, you know, what is the, like the sort of memory that exists within the walls of that building? Right. So, like, if you think about buildings as holding. If you think about buildings as a form of, like, physical archive, not. Not, you know, because the book is really concerned with data and collection and archiving. But buildings themselves are a form of archive, right? Like, they themselves hold information. What kind of information might I be able to impart to the reader and to kind of convey about what the history of this building was? And it seemed to me, given the continual disinvestment that we are engaging in vis a vis education, that it would make sense that it. Like, what if I use the school and, you know, I know already where I'm, you know, where I live, there have been schools that are closing because they just. There's a certain number of students that can keep the school operating. And if they fall below that, then it starts getting into trouble. So I thought, okay, it's cool. I could work with that. And then from there, kind of like thinking, okay, well, this school, how old is it? And then I started thinking, it'd be really interesting if I made it fairly old, like, so about 100 years old, which is quite a lot for California. And then where would that take me? And then the idea of the 1930s and what was happening in the world at that time, the kind of challenges that the world was facing. We like to think of ourselves as sort of like modern people, detached and kind of forward looking. And we forget that almost nothing that we are facing has been faced by generations before us. And I wanted to really echo that in the form of this building and sort of the artwork that is in there, the sort of. The architectural design of it. All of that I thought I could use in creating this world.

Everything that's going on at Madison over time, you start to wonder, is Sarah a reliable narrator? Is she in your book?

Yeah. No, I think that's a really. It's really perceptive, you know, perceptive observation. I think what happens when you are continually observed and you feel like you have, like, no sort of room for freedom or to maintain any kind of privacy, you start to sort of like, doubt yourself. Like, did this really happen or did I imagine it? That is the effect of continual surveillance on people. And I think she starts to think, like, did I actually do this or is this. Is this happening? And so there is a certain kind of destabilizing effect on. On the narrative. And you start to wonder, well, maybe she's not really telling me everything because according to the archival records in the book, there's other things about her that she's not revealing. Like who do I trust? Do I trust this sort of subjective narrative that I've been given about her, or do I trust this sort of objective data that has been collected about her that is presented in the form of these documents in the book? So it's really kind of challenging you to think about the nature of the self and how we form it and which one you should trust, whether it's the archive or the sort of subjective narrative of the person.

[Alison Stewart]

You're listening to my conversation with author Leila Lalamy from our April get lit with all of it book club event. We spent the month reading her novel the Dream Hotel. We'll have more with Layla and hear some questions from our sold out crowd after a quick break. This is all of it. You're listening to all of IT on wnyc. I'm Alison Stewart. We continue my conversation with author Layla Lalamy. Her new novel the Dream Hotel was our April get lit with all of it book club selection. It's about a woman who is held in a retention center after an AI algorithm analyzes her dreams and determines she might be at risk of committing a crime. We had a sold out crowd this week at the Stavros Niarchos Foundation Library and as usual, our audience had some great questions for our author. You'll hear some of those in a minute. But first, here's more of my conversation with author Leila Lalamy.

[Leila Lalami]

Who wants to work at Madison.

Well, people who need jobs. And it turns out, yeah, it's quite a number of people, it turns out. Right. So people do need jobs and they tell themselves that this is a, you know, and don't forget that this is set in a small town. Again, this is a place where the local school could be hiring teachers, could be educating students, could be hiring lunch matrons and all kinds of things. And instead it is this retention center and the jobs are attendants and nurse and all these other different jobs. So it's really about this continual and just ever increasing investment in, in punishment that we engage in as a country rather than in nurturing people and educating and taking care of them.

Let's go to the audience for questions.

Hi. This might be wishful thinking because I enjoyed the book so much, but I felt a little bit that the ending.

Might be setting us up for a sequel.

Do you have any plans on writing a sequel? People have been asking me this a lot and normally if the outcome of the presidential election had been a little bit different, I might have been tempted to write a sequel immediately. But now that we have a Department of Government Efficiency, where the person who's running it is quite busy trying to figure out a way to integrate various government databases into one, which, in the book, if you've read the book, there is an Omni cloud. So it's like this big database that has all this information, and it just feels a little close. I don't know is the answer. I would really have to think, because if I were to write a sequel, it would really be concerned about what happens outside of this retention center, what happens to people who've chosen to opt out, the 23rders and what's happening in that world. But it's just a level of like, I don't know that I'm comfortable enough right now to venture there. Hello. So how has the writing of this book affected your personal relationship with technology? And have you chosen to opt out of any services? It's a great question. It comes up all the time, like, tell us, what are you doing? Yeah, I mean, I still have an iPhone, is the short. The short version of the answer. But I do. I am kind of cutting as much as many of my connections as I can to unnecessary technology. I take the trouble. I know it's really annoying, but every time it gives me the, you know, the terms and conditions where, you know, just click agree, I always go through the several windows it takes to decline everything. I do this systematically. I use VPN when I can. I try not to use things that I don't like. If. If you need an app for something and there is another way to do the thing, I will go do the other way. But if. But if there is an app and there is no other way, then I delete it immediately after I've used it. So I try to do things like that. But going forward, one of my dreams, once I'm done with promoting this book, is to kind of quit social media altogether. So start there, because I just think that the information environment has gotten really. Not just toxic, but dangerous. So that's one of the places where I think I could easily cut. And also, because I read the actual news, I actually subscribe to newspapers and read the actual news, so I don't need some rando telling me what they're thinking about it. Thank you so much.

[Audience Member]

I really enjoy the narrative tension in the book. You know, it kind of kept me.

[Alison Stewart]

In the edge of the seat.

[Audience Member]

So I was wondering, like, if you.

[Leila Lalami]

Knew how it was gonna end and.

[Alison Stewart]

Or if it kind of came to.

[Audience Member]

You because it kept me guessing, you.

[Leila Lalami]

Know, and in the feeling of punishment, yeah. Yeah. I mean, when I started and I realized that my character was stuck there, I was writing, and I kept thinking, I've put myself in a corner and I have to figure out a way out of it. Right. I knew that it had to end one of two ways. Either she is. I'm afraid to say something without spoiling the book, but for those who may not have read it, but basically, I knew that she had to find a way out or else she was going to actually have to commit the thing that they said she was committing. So it was one of those two things.

[Audience Member]

Thank you. I was just talking the other day with a friend of mine just about how back in the day, we had rotary phones, you know, and when people walked around with the big old box, those were actually cell phones or they were more in the car. But I'm just wondering, just. I haven't read your book, but I was just wondering about the part of, like, what if dreams become taken over because the reality of it is artificial intelligence is here. Right. Or it's been here and it's been marketed. And, you know, as much as you would think that quitting social media might be the best thing for people, but as an author, how do you get your book out there if you quit social media overall?

[Leila Lalami]

Yeah.

[Audience Member]

So I'm just wondering if maybe, like, what. What would that world look like? Right. Because movies depict that sometimes when dreams are taken over as well, and then we just become part of the matrix, which we're in right now.

[Leila Lalami]

No, I think that's. That's true. And. And thank you for pointing that out. Like, I have the luxury of saying I can quit social media for now. I mean, you know, probably will have to be suckered back in for the next book. But I think that this really just highlights how the book is really about systems of surveillance. It's not just about one person going through this journey. Yes, the novel focuses on the one character because you're the reader and you're attaching yourself to this character whose journey you are following across 350 pages. But it really is looking at this system of surveillance in toto, and the response cannot, you know, be purely individual. There is some amount of individual power which you're free to each exercise in the best way that you can. Like, you can choose to. That. To. To delete certain apps from your film. Like, if you don't need it, why use it? You know, if you don't need social media, why not? Why use it? And then there is collective power. Right. Like, there's there's, you know, things that we can come together and do together as a group. And, you know, obviously it's. I mean, it seems to me that what we really need is a digital bill of rights that makes it, you know, very clear that the data that our bodies emit belong to us. And so this is, this is the future. We're going to have to fight for this in the same way that we had to fight to have control over our reproductive systems. And I know that we're still fighting that fight, and it's not over. And things sometimes can seem, you know, one step forward and two steps back, but this is going to continue to happen. And this is going to be one of those things that we have to fight for is our sort of, you know, digital freedom.

People in Sarah's life keep telling her, keep your head down, you'll get out of there, be agreeable, just do what they say. And she doesn't seem able to do it. Why not?

Because she comes from a long line of difficult women. I think you see from the moment that you meet this character and she's having that device checked, just that little instinct of not bending her head and not wanting to make it easier on the guy to check the device, that is what attracts me to her as a character. It's that refusal, is that desire to say no, even if it's a small thing, that refusal to cede what little amount of power she has. That's what ties me to her as a character. And that's what makes me excited about reading about her and writing her and following her.

[Alison Stewart]

That was my conversation with author Leila Lalamy from our April get lit with all of it book club event. Up next, a special live performance from the band Imal Ginawa. Stay with us.

[Ira Flatow]

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