Middlesex, like a girls’ locker room, is crowded and noisy, with smells. The novel combines the respective hysterias of two fraught traditions–the Greek and the mid-century American (one produced the professional lady mourner, the other produced Saul Bellow). At the center of this story, which, like many family histories, is at once tremendously unlikely and perfectly plausible, Jeffrey Eugenides has placed the two great standards of the human race: a pair of genitals, and a heart. And while the genitals of Middlesex’s intersex hero are of an unusual sort, with them Eugenides conveys not only the singular misery of gender and sexual confusion, but the universal lumpen misery of adolescence, and the pain of young love. These, and the goofy relatives, and the historical vignettes, are relayed as a kind of artful schmaltz, which doesn’t stray too far into parody. The novel seems carefully researched and written; and its numerous set pieces (Smyrna burning, Detroit burning, penis stirring) are controlled. It’s a wonderful novel. I can’t wait to see what he does next.
When I discovered W.G. Sebald, I read Vertigo first, and then The Emigrants and The Rings of Saturn. Minutes after I read the final page of The Rings of Saturn, I flipped it over and began again. I read that book six times, maybe seven, and taught it once. Still I avoided Austerlitz. Maybe I was saving the finest chocolate for last or maybe it was fear: fear of the subject matter, fear that the book would fail my expectations, fear that it would be so good that I would never write again. When finally I read it (nearly straight through, though its complicating visual interruptions give less relief than its scanty paragraph breaks), I understood it to be Sebald’s greatest work of art. My description implies that the novel is breathless but in fact it is calm and wise, its terror subtle, creeping, accumulative. In its layered explorations of the limitations and possibilities of the narrative I and the narrative eye, Austerlitz changed how I read and how I think. The novel offers evidence that silence not the only decent response to atrocity, that art can carry a fiery, gentle intelligence to our hardest questions, that the human heart can be reached—broken—through the intellect. Read an excerpt from Austerlitz. More Best Fiction of the Millennium (So Far) Best of the Millennium, Pros Versus Readers
I read Cloud Atlas with two contradictory impulses: first to let loose a yodel, dance a fandango, wrestle an alligator, seize strangers by the hair and hold them firmly until they, too, read this shockingly beautiful Matryoshka doll of a book; second, to pout alone in the darkness under my desk. My first reaction was as a dazzled reader who saw each movement of the book as David Mitchell one-upping himself with his genre-bending (historical, mystery, science fiction), his sublime prose, his broad and breathtaking ideas. The other was as a writer who was intimidated almost to petrification by the mere idea that such a book exists and was written by someone of my generation. It is hard not to make sweeping pronouncements after having lived this book, and, still under its spell three years after I read it, I would say: yes, yes, yes, this is the way novels should be written, with such electric ambition, with such exhilarating sweep. Read an excerpt from Cloud Atlas. More Best Fiction of the Millennium (So Far) Best of the Millennium, Pros Versus Readers
Months before Ian McEwan's Atonement was published in the U.S., the galley was being passed from bookseller to bookseller at Book Soup, where I worked at the time. My usually jaded coworkers were effusive, and by the time they had passed the book on to me, my interest was piqued. Atonement introduced me to McEwan, one of the leading literary lights of the last 25 years, a prolific and sometimes controversial novelist. It proved to be quite an introduction. Atonement is told in three parts, nestling the mannered charms of an English country house up against an arresting tale of Britain at war, and it has an ending that turns an admittedly accomplished but conventional novel into a gut-punch of a book that toys with the idea of the reliable narrator and gets one thinking about the ethics of story-telling and the power that a writer has to bend history to his will. McEwan was a Booker winner in 1998 for Amsterdam, but it was Atonement that cemented him as that rare thing, the literary superstar. Read an Excerpt from Atonement. 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
The story of hapless CIA functionary Ray Finch's midlife unraveling in Botswana is uproarious and deadly serious, ruminative and suspenseful, psychological and philosophical. Think Graham Greene as written by Saul Bellow. Or Thomas Mann as written by Jonathan Franzen.