Gene writes in with this question:I currently teach a high school English course called 21st Century Literature, and I’ve hit a bit of a block these last few weeks in trying to put together this year’s syllabus. We currently read Eggers’ A Heartbreaking Work of Staggering Genius, Lethem’s The Fortress of Solitude, Zadie Smith’s On Beauty, and Diaz’s The Brief Wondrous Life of Oscar Wao along with essays from the likes of David Foster Wallace (“E Unibus Pluram”) to Chuck Klosterman (“The Real World”). We also look at some popular TV shows, music, and films in an attempt to get the students to examine the world in which they live with something of a more “critical” eye.So. I’m trying to replace Fortress for this year’s class, partly because I update the syllabus every year and partly because it was the one last year’s students voted out. My problem, though, is that I haven’t read anything this year that has really blown me away. And so I turn to you, Millions, for some guidance. I’m currently considering Bock’s Beautiful Children, Ferris’ Then We Came To The End, Clarke’s An Arsonist’s Guide to Writers’ Homes in New England, or possibly the new collection of essays State by State. My students are really intelligent, and so just about anything is fair game. What, then, would you add to the class to be read right after Eggers’ Heartbreaking Work?Five of our contributors weighed in.Edan: What a terrific course! Can I take it? Your syllabus thus far sounds pretty damn spectacular as is, so I’ve tried my best to come up with texts that fulfill a role that the other books haven’t. Of the four you’re considering teaching, I think State by State is the best, since it showcases so many great writers. While I enjoyed Joshua Ferris’s Then We Came to the End, I think a workplace narrative would be lost on most teenagers. Here are my suggestions:Willful Creatures: Stories by Aimee Bender or Magic for Beginners by Kelly Link: It might be fun to add some short fiction to the syllabus, and to improve the male-to-female author ratio. Of the many writers I introduced to my Oberlin students, Bender and Link were the biggest hits, perhaps for the magic and fantasy they inject into their odd and beautiful stories. Both writers provide excellent discussion fodder about the construction of reality, and about notions of genre in contemporary fiction.The Known World by Edward P. Jones: Still one of my favorite novels of all time, this is a historical novel about black slave owners in antebellum Virginia. It’s told in a sprawling omniscient voice, not a common point of view in these fragmented, solipsistic times. It might be interesting to compare this perspective to the more intimate first person narratives on the syllabus. Also, since your other texts take place in the time they’re written, it might be interesting to see how a contemporary writer depicts and manipulates the past.Look at Me by Jennifer Egan Published a few days before September 11th, this novel feels strangely prophetic. It also articulates, well before its time, the strange and complicated nature of online social networks like Facebook, certainly a topic of interest among high school students. The book tells two parallel narratives: one about a model whose face is unrecognizable after a car accident, and another about a teenage girl living in a long-dead industrial town in the Midwest. It’s equal parts beautiful, entertaining, satirical, and sad. This novel could inspire many fruitful discussions about identity, media, beauty, and representations of self.Andrew: Rawi Hage’s DeNiro’s Game is a tightly-written haunting jagged rush through the streets of war-torn Beirut in the 1980s. Now calling Montreal his home, Rawi Hage lived through the endless Lebanese civil war and writes this tale as a survival story, not a political polemic. The protagonists are ordinary young Lebanese guys – where ordinary means bombed-out homes, militias, snipers and rubble. No longer children, but not quite adults, Bassam and George flex their muscles amid the smoke and dust of a city that has been prodded and beaten by any group with a big enough stick.Winner of the 2008 IMPAC Dublin Literary Award, and short-listed for countless major awards up here in Canada, Hage’s debut novel throws the reader into a part of the world in the not-so-distant past that he likely has only seen from news images, and he gives these images human dimensions. This is a harrowing story of brutal youth.Emily: Although I wouldn’t say it blew me away, I submit Keith Gessen’s All The Sad Young Literary Men as a possible addition to your 21st century lit syllabus – not least because I think I would have found such a book personally useful had something like it been recommended it to me in high school. Its depiction of the social and intellectual chaos and disappointments of college and the post-college decade for three bright, ambitious, politically serious young men manages – oh, as I feared it might (for so many sad young literary men do) – not to take itself or its characters too seriously. Not that Gessen trivializes or denies the pains of his three protagonists, but he is exquisitely aware of the absurdities idealism and ambition sometimes fall into – particularly among the young. The character Sam is my favorite example of this: he aspires to write to great Zionist epic and has managed to get an advance from a publisher toward this end, but he does not speak Hebrew, has never been to Israel, and is a little bit fuzzy on Israeli history and politics. His best claim to the project is his extensive collection of fiery Jewish girlfriends. Like his fellow protagonists, Keith and Mark, Sam seems more delighted by the idea of literary accomplishment for himself than able to sit down and produce the stunning epic of the Jewish people that he imagines and more hungry for fame than to write his book (“Fame – fame was the anti-death. But it seemed to slither from his grasp, seemed to giggle and retreat, seemed to hide behind a huge oak tree and make fake farting sounds with its hands.”).Gessen has a particularly deft touch with juxtaposition – almost zeugma perhaps? – in his plotting and narration. The personal and the political – the sublime and the ridiculous – are cheek by jowl and often confused: Keith’s desire to sleep with the vice president’s daughter (who is in his class at Harvard and dating his roommate) is bound up with his desire for the vice president himself (Gore) to win the presidential election; For Sam, his intellectual work and his personal life are strangely aligned such that “refreshed by his summation of the Holocaust, Sam decided to put the rest of his life in order” and instead of wrestling with his genuine artistic problem (his inability to write his epic), he becomes crazily obsessed, instead, with his shrinking Google. I suspect that we will see better work from Gessen in the years to come, but for its humor, its pathos, and its willness to depict (and deftness in depicting) the humiliations and vagueries of early adulthood, I think it’s an excellent choice (particularly since among your students there are, I imagine, some present and future sad young literary men).Garth: This is sounds like a great class. I wish I’d had you as a teacher! One of the implicit challenges of answering the question is the tension between the need to appeal to high schoolers and the search for formal innovation. These two are not mutually exclusive; I vividly remember falling in love with Infinite Jest as a high-schooler. Still, some of the aesthetic strategies that separate contemporary writers from the hoary old 1900s (which are so last century) come at the cost of emotional immediacy. some of my favorite works of 21st Century fiction – Helen DeWitt’s The Last Samurai; Kathryn Davis’ The Thin Place; Lydia Davis’ Varieties of Disturbance; Aleksandar Hemon’s The Question of Bruno – may be a little too cerebral for high schoolers.I thought of several adventurous novels which are less formally pluperfect (in my opinion), but which might make a stronger appeal to this age group. Chief among them are Chris Adrian’s The Children’s Hospital, Uzodinma Iweala’s Beasts of No Nation, David Mitchell’s Cloud Atlas, Yann Martel’s Life of Pi, Mark Haddon’s The Curious Incident of the Dog in the Night-Time, and Jonathan Safran Foer’s Extremely Loud and Incredibly Close.Though I didn’t care for Beautiful Children, and suspect teenagers would see through its outdated assessment of youth culture, Then We Came to the End has an appealing warmth and good humor, as well as a fascinating first-person-plural voice. Ultimately, though, the two “21st Century” books I can most imagine teaching to high-schoolers are George Saunders’ Pastoralia (2000) and Paul Beatty’s The White-Boy Shuffle (1996).Max: Sounds like putting together the syllabus is a fun job. It’s interesting that the students didn’t like Fortress as much. I think I would agree with them on that. Though it was certainly an ambitious and at times entertaining book, I think it falls apart in the second half. I haven’t read Motherless Brooklyn, but I know it seems to have many more fans than Fortress.Thinking about short story collections, you could hardly go wrong with Edward P. Jones’s two collections – Lost in the City and All Aunt Hagar’s Children – Jones’s stories are terrific and offer a perspective that is quite different from Chabon, Lethem, and the rest of the Brooklyn crowd. Also, Jones’s The Known World is to my mind maybe the best novel of the last 20 years. Middlesex by Jeffrey Eugenides and Atonement by Ian McEwan also strike me as solid candidates, with the latter offering a unique and satisfying “reveal” at the end that changes how the reader thinks about the books structure (assuming your students haven’t already seen the film which, anyway, does the book a disservice in trying to render a purely literary twist via the language of Hollywood.)Gene, thanks for the question and please let us know what you select. Millions readers, please offer your suggestions in the comments below.
According to Wikipedia, not the definitive source in this realm but a decent enough place to start, a work of historical fiction can be defined as one in which “the story is set among historical events, or more generally, in which the time of the action predates the lifetime of the author.” This is a bit broad for my taste, but I think it’s a good place to start. Going by this definition, a lot of books that we think of first as fiction could also qualify as historical fiction. Some of my favorite books by contemporary authors fall into this category. T.C. Boyle’s Water Music is about a Scottish explorer in Africa in the late 18th century, and Edward P. Jones’ book The Known World is about black slave owners in Virginia in the 1840s. Another example of a book like these is Charles Frazier’s Civil War novel, Cold Mountain.
But these books aren’t really historical fiction in the same way that I, Claudius is historical fiction. Traditionally, in historical fiction, the history is like another character in the novel, and the action is more likely to be ripped from the history books, as it were, placing the reader in a novelized version of true historical events. Gone with the Wind by Margaret Mitchell about Atlanta during the Civil War is a famous example. Another is James Clavell’s Shogun about the 16th century exploration of Asia. Of the few historical novels I’ve read, my favorite would have to be Leon Uris’ Trinity, a powerful epic about the Irish struggle for independence at the turn of the 20th century.
Well, the sequel Claudius the God is also a must-read. I have a sort of obsession with Graves, I have read "I, Claudius" countless times. There is really nothing else quite like it. Graves wrote a lot of other historical fiction, but a lot of it is quite peculiar, like "Wife to Mr. Milton" or "They Hanged My Sainted Billy." I like them, but they are a bit of an acquired taste.
Gore Vidal's "Julian" is in my opinion his best, though the nineteenth-century American ones are also appealing (esp. Lincoln and Burr); Rosemary Sutcliffe's young-adult Roman-and-British history novels are also very good (and actually, I think young-adult historical fiction is often more appealing than the adult stuff; I recommend E. L. Konigsberg's "A Proud Taste for Scarlet and Miniver," about Eleanor of Aquitaine). Margaret Yourcenar's Hadrian is a classic but I don't know if it stands up as well as Graves from the standpoint of pure enjoyment. Mary Renault is really wonderful if you haven't read her, must check it out if not: "The Last of the Wine" is perhaps my favorite, but there's a really good one about Alexander the Great ("Fire From Heaven"), an excellent one based on the (mythic) Theseus ("The Bull From the Sea"), and "The Praise Singer" is another favorite of mine (it's years since I read them, I may have got some of the titles wrong).
Hilary Mantel's "A Place of Greater Safety" is an interesting (though to me ultimately not so satisfying) novel about the French Revolution, if you like novels that treat public political events. My best other recommendation is Sebastian Faulks; I think "Birdsong" and "Charlotte Grey" are both extremely satisfying novels, about WWI and WWII respectively. If WWII counts as historical, of course, there start to be lots of good books to read….
All right, that's enough! But there's a lot of great other stuff out there too, of course. War and Peace is in some sense the great historical novel, put that one on the list too if you haven't read it…
Stephen Harrigan's Gates of the Alamo is a moving piece of historical fiction, told by both the Texian and Mexican sides.
I would like to add a few suggestions to the list.
Madison Smartt Bell's Haitian trilogy, starting with All Soul's Rising and ending with The Stone That the Builder Refused, is historical fiction on an epic scale. It tells the story of the Haitian slave revolution. This is a great example, in my opinion, of what historical fiction does best.
Tom Franklin's Hell at the Breech recreates an unusual private war between wealthy landowners and poor sharecroppers that raged in the backwoods of Alabama in the 1890s. A well-done recreation of a sad and mostly forgotten incident in American history.
Elizabeth Gaffney's Metropolis recreated New York's Five Corners area – think Dickens redoing Gangs of New York. A good story, well told, with excellent period details.
mario varga llosa. Feast of the Goat. the most harrowing account of a country under the rule of a murderous despot ever written. a masterpiece. a must read. seriously.
This was my original question and thanks for the great responses! If anyone is still inspired, any ideas for historical fiction surrounding the French Revolution?
I have to add Aztec. I love that book so much. It follows the sunset of the Aztec empire. Really fantastic.
-Erik.
French Revolution: Well, Tale of Two Cities is the obvious, and it is really pretty great if you haven't read it (though it's so far inferior to Dickens' best that I can't say it's one of my favorites). Victor Hugo has a really wonderful novel called Quatre-Vingt-Treize (1793), which I think should be more or less available in paperback–it was certainly in print in the mid-90s. I'm ignorant about other French-language stuff, though Michelet's French Revolution history is fantastic (history, not fiction) and there's also a film called Danton starring Gerard Depardieu that I liked when I saw it.
The Hilary Mantel novel I mentioned above is about the French Revolution; another thing well worth reading tho more on the truth than fiction thing is Richard Holmes's essay about Mary Wollstonecraft in Paris during the revolutionary years, it's in his collection Footsteps: Adventures of a Romantic Biographer.
For Ancient Rome, try the "Masters of Rome" series by Colleen McCullough. For Africa, I've always like Wilbur Smith's sagas of the Courtneys and the Ballantynes.
RE: French Revolution
Anatole France's "The Gods Will Have Blood" is an excellent historical novel set during the Revolution.
Victor Hugo's hard to find "Ninety-Three" centers around a counter-revolutionary invasion during the Revolution.