Life is impossible; it can’t possibly continue; and then it does. Existential despair accretes; time passes; the color of one’s despair changes. Time seems to change its velocity, its direction. Suddenly everything is different. The title story in Twilight of the Superheroes describes this problem so gently and bravely: “And yet, here he is, he and his friends, falling like so much landfill into the dump of old age. … Yet one second ago, running so swiftly toward it, they hadn’t even seen it.” Deborah Eisenberg’s stories remind me of William Maxwell’s; they are wise, kind, careful, benevolent.
Alice Munro's Hateship, Friendship, Courtship, Loveship, Marriage is a book I return to for sustenance, for instruction, and for pleasure. The title story is a masterpiece, a miracle of structure, character and plot, in which two teenage girls write prank letters to a housekeeper and thus set off a chain of events that changes and creates lives. Munro is a realist of profound and subtle comprehension whose great subject is women's lives. She is not a romantic, not sentimental, nor does she work the other end of authorial power and put her characters through excruciations and misery simply because she can. Instead, she writes with the clear, rigorous dispassion of a spiritual master. Because literary convention so often nudges narratives toward familiar outcomes--happy endings, redemption, tragedy--Munro has retooled form to suit her nuanced purposes. Her stories have the range and depth of novels; their structures are intricate and unusual but completely lucid. Her pace is leisurely; she lingers on physical descriptions of trees, geology, and faces, and on gradations of emotions. Yet somehow the stories often span years, even decades, and cover vast tracts of ground. She makes all this seem effortless. Alice Munro has taught us to find literary pleasure in leaping over time, in the odd swerves life takes, in the unexpected sources of comfort and sustenance, and in the idiosyncratic arrangements made for human happiness. In Hateship, Friendship, Courtship, Loveship, Marriage, she is at the top of her powers, each story, one after another, a stalwart, shimmering beauty. Read an excerpt from Hateship, Friendship, Courtship, Loveship, Marriage. More Best Fiction of the Millennium (So Far) Best of the Millennium, Pros Versus Readers
Starting Lynne Tillman’s American Genius, A Comedy, I was led to assume by the confessional intimacy of the voice that this would be a story on a scale small enough to match the closeness its first-person narrator’s tone made me feel to her. But then I began to notice how many physical locations she was taking me to on a given page, or even in a typical supple and quicksilver sentence, and how many temporal locations, and how many of the novel’s vast range of themes and motifs she was advancing, and how many different -- often contradictory -- attitudes toward a given assertion she was adopting or testing out. Another way to describe this narrator’s propensity to make an assertion and then to iterate a number of alternative and mutually opposing points of view about it would be to say that the novel she inhabits, even at the level of a single sentence, is polyphonic, that its central voice contains many voices. So, while tracking her protagonist’s mental and physical peregrinations in time and space to and from the mysterious retreat-like communal living space that is the novel’s core location, Tillman composes and arranges in syntactical harmony a great many people and places and things: mothers and fathers, dogs and cats, the Empire State Building, Eames chairs, textile mills, China and Poland, 1733 and 2006, John D. Rockefeller and Jean Genet, coumadin, lanoxin, chocolate pudding, farting, murder, the Revolution and World War II, shoes, bikes, cars, a lost brother, a City upon a Hill, worry that does not hinder exuberance or vice versa. In American Genius, a Comedy, Tillman becomes, in effect, a dozen Ellingtons conducting a monumental symphony played by an orchestra consisting of a single multifarious instrument. Read an excerpt from American Genius, A Comedy. The Millions review of American Genius, A Comedy. More Best Fiction of the Millennium (So Far) Best of the Millennium, Pros Versus Readers
● ● ●
Below is a list of all of the titles nominated by our "Best Fiction of the Millennium (So Far)" panel that did not appear on our Top 20 or Honorable Mention lists. Absurdistan, by Gary Shteyngart American Purgatorio, by John Haskell Among the Missing, by Dan Chaon Atomic Aztex, by Sesshu Foster Await Your Reply, by Dan Chaon Be Near Me, by Andrew O'Hagan The Beauty of the Husband, by Anne Carson The Best of Contemporary Mexican Fiction, edited by Álvaro Uribe and Olivia E. Sears The Blind Assassin, by Margaret Atwood The Book Against God, by James Wood The Bridegroom, by Ha Jin The Bright Forever, by Lee Martin Brookland, by Emily Barton By the Light of the Jukebox, by Dean Paschal The Cave, by Jose Saramago Censoring an Iranian Love Story, by Shahriar Mandanipour Cheating At Canasta, by William Trevor The Children's Book, by A.S. Byatt City of God, by E.L. Doctorow The Cold Six Thousand, by James Ellroy The Collected Stories of Amy Hempel Confessions of Max Tivoli, by Andrew Sean Greer Contagion, by Brian Evenson Dark Places, by Gillian Flynn De Niro's Game, by Rawi Hage (Our review) The Death of Sweet Mister, by Daniel Woodrell The Diviners, by Rick Moody (Our review) Do Everything in the Dark, by Gary Indiana The Dog of the Marriage, by Amy Hempel The Dying Animal, by Philip Roth The Echo Maker, by Richard Powers Eclipse, by John Banville Elizabeth Costello, by J.M. Coetzee The Embers, by Hyatt Bass The End, by Salvatore Scibona The Epicure's Lament, by Kate Christensen (Our review) An Episode in the Life of a Landscape Painter, by César Aira Erasure, by Percival Everett Europeana, by Patrik Ouredník Everyman, by Philip Roth Everyman’s Rules for Scientific Living, by Carrie Tiffany Everything Ravaged, Everything Burned, by Wells Tower (Our review) Evidence of Things Unseen, by Marianne Wiggins Falling Man, by Don DeLillo The Farther Shore, by Matthew Eck Fieldwork, by Misha Berlinski Farewell Navigator, by Leni Zumas The Gathering, by Anne Enright God Says No, by James Hannaham Half of a Yellow Sun, by Chimamanda Ngozi Adichie (Our review) The Haunting of L., by Howard Norman The Horned Man, by James Lasdun The Human Stain, by Philip Roth I Looked Alive, by Gary Lutz I Should Be Extremely Happy in Your Company, by Brian Hall In Persuasion Nation, by George Saunders Indecision, by Benjamin Kunkel The Indian Clerk, by David Leavitt It’s All Right Now, by Charles Chadwick Jamestown, by Matthew Sharpe Jane: A Murder, by Maggie Nelson Jeff in Venice, Death in Varanisi, by Geoff Dyer Jim the Boy, by Tony Earley Last Evenings on Earth, by Roberto Bolaño The Last Samurai, by Helen DeWitt The Lazarus Project, by Aleksander Hemon (Our review) Let The Northern Lights Erase Your Name, by Vendela Vida Like You'd Understand, Anyway, by Jim Shepard The Line of Beauty, by Alan Hollinghurst (Our review) Love Creeps, by Amanda Filipacchi Lush Life, by Richard Price Magic For Beginners, by Kelly Link Man Walks Into a Room, by Nicole Krauss The Maytrees, by Annie Dillard A Mercy, by Toni Morrison (Our review) The Most of It, by Mary Ruefle My Happy Life, by Lydia Millet My Revolutions, by Hari Kunzru The Name of the World, by Denis Johnson Natasha and Other Stories, by David Bezmogis Netherland, by Joseph O'Neill (Our reviews) The Nimrod Flipout, by Etgar Karet An Obedient Father, by Akhil Sharma Olive Kitteridge, by Elizabeth Strout On Beauty, by Zadie Smith P, by Andrew Lewis Conn The People of Paper, by Salvador Plascencia A Person of Interest, by Susan Choi Personality, by Andrew O'Hagan Pieces for the Left Hand, by J. Robert Lennon The Pink Institution by Selah Saterstrom The Plot Against America, by Philip Roth The Question of Bruno, by Aleksandar Hemon Runaway, by Alice Munro A Seahorse Year, by Stacey D'Erasmo The Second Coming of Mavala Shikongo, by Peter Orner Servants of the Map, by Andrea Barrett The Singing Fish, by Peter Markus The Slynx, by Tatyana Tolstaya (Our review) Snow, by Orhan Pamuk (Our review) The Story of Lucy Gault, by William Trevor The Surrendered, by Chang-Rae Lee The Terror, by Dan Simmons The Thin Place, by Kathryn Davis (Our review) Then We Came to the End, by Joshua Ferris 31 Hours, by Masha Hamilton Brothers, by Yu Hua The View from Castle Rock, by Alice Munro Tree of Smoke, by Denis Johnson (Our review) True History of the Kelly Gang, by Peter Carey Unaccustomed Earth, by Jhumpa Lahiri Vanishing Point, David Markson Veronica, by Mary Gaitskill Wanting, by Richard Flanagan What is the What, by Dave Eggers (Our review) What Was She Thinking? : Notes on a Scandal, by Zoe Heller (Our interview) When the Emperor Was Divine, by Julie Otsuka When We Were Orphans, by Kazuo Ishiguro Yonder Stands Your Orphan, by Barry Hannah You Shall Know Our Velocity, by Dave Eggers Zeroville, by Steve Erickson