Last year we had fun comparing the U.S. and U.K. book cover designs of a sample of the Rooster contenders, so I decided to do it again with this year’s batch. There are all sorts of marketing considerations behind these designs, and it’s interesting to see how designing for these two similar markets can result in very different looks. The American covers are on the left, and clicking through takes you to a larger image. Your equally inexpert analysis is welcomed in the comments.
With year nearly half over, it’s time once again to look ahead at books that will be arriving in the coming months. 2007 was very much a front-loaded year in terms of big-name literary releases with heavyweights like Delillo, McEwan, Murakami, Lethem, and Chabon all dropping new titles early in the year. The second half of 2007, while it doesn’t have as many headline grabbers (excluding Harry Potter, of course), does have a number of interesting books on offer.September: I’ve already written about the Junot Diaz book The Brief Wondrous Life of Oscar Wao. Here’s what I said “The reason I’m so excited about this is that Diaz’s story by the same title in the New Yorker’s 2000 end-of-year fiction issue was one of the best stories that’s appeared in the magazine in the ten years I’ve been reading it. It is a story so good that I still remember talking to various people about it in my then home city of Los Angeles, people with whom I never before or after talked fiction. It was a story that got around. And now, finally, it has blossomed into a book.” Since then, the New Yorker has published another excerpt from the book, in the June 11 & 18 Summer Fiction issue, but the story isn’t available online.Suite Francaise, a posthumously published work by a Russian-born, French novelist who died in the Holocaust was a surprise bestseller in 2006. Though Irene Nemirovsky was a celebrated writer in the 1930s, she had been largely unknown to today’s readers. Now, however, her work is returning to the spotlight. Like Suite Francaise, Fire in the Blood was written during the early years of the war, but only published decades later. Unlike Suite Francaise, Fire in the Blood does not center on the war, instead “it dwells on intense, often repressed emotional conflict set against bucolic country life,” according to the International Herald Tribune where more about the book and Nemirovsky can be found.Songs Without Words is Ann Packer’s follow-up to her acclaimed debut, The Dive from Clausen’s Pier. Based on some reports from BEA, the book has generated some buzz, but I haven’t seen any early reviews. Publisher Knopf describes the book as a chronicle of a friendship between two women that is shaken when an “adolescent daughter enters dangerous waters” and “the fault lines in the women’s friendship are revealed.” An excerpt from the book is available, too.Denis Johnson has a hefty new tome (600+ pgs) on the way. As Garth pointed out to me when he snagged a galley of the book at BEA, Tree of Smoke has garnered some serious praise from FSG head Jonathan Galassi. His letter from the front of the galley says: “The novel you’re holding is Denis Johnson’s finest work, I believe, and one of the very best books we have ever had the honor to publish. Tree of Smoke has haunted me in the sense that I’ve thought about it and dreamed about it since I finished reading it, and the impression it left has only deepened over time. I think it is a great book, and I hope you will enjoy it as much as I have.” (via SoT)Richard Russo is taking something of a departure from his usual terrain in upstate New York with his new novel Bridge of Sighs. The book’s protagonist Louis Charles “Lucy” Lynch hales from upstate Thomaston, but the book’s action takes place partly in Venice where Lucy goes with his wife to find a childhood friend. From the sound of it, Russo stays true to the themes and tone of his past books but broadens the geography a bit.October: Ann Patchett, author of big seller Bel Canto has a new book coming out called Run. Patchett recently told Amazon the book is “about a man who is the former mayor of Boston, who has three sons and who has political ambitions for his sons that perhaps one of them would go on to be president, and he pushes them in that direction.” Or if you want a snappier blurb: “Joe Kennedy meets The Brothers Karamazov,” which sounds more than a little intriguing. Curious readers can listen to Patchett reading from the book courtesy WGBH Boston.In my early days as a bookseller, Alice Sebold’s The Lovely Bones was one of the first bestsellers I encountered from that side of the retail equation. I came to understand that this meant having a copy of the book within reach at all times since requests for it came unabated. At one point I even had the book’s ISBN memorized from ringing it up so frequently. Sebold and her publisher will undoubtedly be hoping for similar success with her follow-up novel The Almost Moon. USA Today recently ratcheted up the hype by revealing the book’s first sentence: “When all is said and done, killing my mother came easily.”Tom Perotta’s last book, Little Children got noticed both because of good reviews and because Pepperidge Farm made publisher St. Martin’s take its goldfish crackers off the cover (they were replaced by chocolate chip cookies). Perrotta’s new book, The Abstinence Teacher depicts no food whatsoever on the cover. The book treads Perrotta’s usual turf: the raw underbelly of suburbia. Following in the footsteps of Election, another Perrotta novel, a film version of The Abstinence Teacher is said to be in the works.Perhaps the “biggest” book yet to come out during the second half of this year, though, will be Philip Roth’s Exit Ghost. Billed as the final Zuckerman novel, Exit Ghost follows Zuckerman back to New York where he is seeing a doctor but is waylaid when chance encounters stir things up in the way things get stirred up in Roth novels. An early look from PW is less than impressed – “the plot is contrived.” A random blogger offers a different opinion. With the publication date several months away, the jury is still out.The above are the forthcoming books that have caught my eye, but I’m sure I’ve missed some good ones. Tell us about them in the comments.
As a writer who is still working on her debut novel manuscript, I can’t resist the temptation to feel as though every author who has her name splashed across a cover in a bookstore is the happiest writer who has ever written. She is, after all, published; after working hard, her best work is polished and released, and out for the world to consume.
Despite, as writers, knowing how easily and often our relationship with our own work fluctuates, we can sometimes silently impose an expectation on published authors that they should retain a permanently positive relationship with their books once they’re in print. Perhaps it’s ungrateful if they don’t. They could, after all, still be struggling like so many of us.
Is it actually that easy, though? Does a writer love all of his published works as much as the day they were released — or as much as we on the outside expect him to? Or does he actually want to burn every copy each time he sees an open flame? I asked six writers to look back on their debut novels, released as many as 25 years ago, and talk about how their relationships with their books have evolved with time and distance.
1. Colum McCann on Songdogs (1995)
My first novel, Songdogs, was actually my second book, after a collection of stories, Fishing the Sloe-Black River. I was in my mid-20s when I wrote it. I recall my agent saying that the first draft felt like it had been “preserved in aspic.” Basically, he was saying that it was god-awful. He was right, too. I got a second chance and wrote and rewrote and rewrote. I have a bit of a contradictory relationship with that book, which is now about 25 years old. I think I’m correct in saying that it’s a young man’s novel, flawed and flaring. I would never read it again — why spend my time with my own work when I can read someone else’s? — but there are parts of it that still rattle my tired memory.
Thirteen Ways of Looking (Random House) is forthcoming on October 13.
2. Alexander Chee on Edinburgh (2001)
I’m probably more proud of [Edinburgh now] than I was at the time it appeared. At the time, the struggle to publish it had consumed me — it took 24 rejections and two and a half years to find a publisher. I think I somehow internalized all those rejections. And so the eventual celebration when it appeared at last got a somewhat chilled embrace from me, even once it went better than I had expected. People kept saying to me, “Aren’t you happy?” And I couldn’t quickly answer. I was thinking, “Well…I don’t know.” A sort of anhedonia had set in. That feeling puzzled me for a long time. I understand it now, though — I was braced for something bad to happen, one last disaster. But it didn’t happen, and now I can celebrate it wholeheartedly.
The Queen of the Night (Houghton Mifflin Harcourt) is forthcoming on February 2.
3. Jami Attenberg on Instant Love (2007)
I actually have a real fondness for my first book, Instant Love. I wasn’t in an MFA program, and it had been more than a decade since I’d studied writing as an undergrad, so the book was constructed mainly on passion and voice and life experience rather than anything strategic or structural or academic. I just really stumbled my way through the writing of it, had no expectations, and was just happy it sold. Now that book feels as pure to me as anything I’ve ever written. When people tell me that they’ve read it, I get a little choked up thinking about that time in my life. I’m serious! I definitely think of that book as my first love.
4. Emily St. John Mandel on Last Night in Montreal (2009)
My first three novels were recently reissued, and I had the opportunity to read through them and make minor changes and corrections prior to publication. It was interesting to revisit them after all these years, especially my first novel, Last Night in Montreal. I think that novel’s by far the weakest of my books. I’m mystified that it gets more attention than my second and third novels, and if I were to write that story now I would go about it in a completely different way, but I was reassured to find upon rereading that I didn’t dislike it. Looking at it again was like opening a time capsule: there was a sense of “Oh, this is how I wrote in my early-to-mid-20s, when my sensibility was almost completely different.”
5. Justin Taylor on The Gospel of Anarchy (2012)
Gospel was brutally reviewed upon publication, for reasons that I felt — and still feel — were largely unfair, and only tangentially related to its contents. A lot of people wanted it to be pure punk rock slapstick, and so decided in advance that it probably would be, and so were more than a little bit put off by what turned out to be a dense, recursive, intermittently X-rated meditation on theology. The book’s great crime, in the critical consensus, was in taking its own central question seriously, namely: Is there a vantage point from which Christianity and anarchism appear (or are revealed) to be, one and the same thing? This is not to say I posed this as elegantly as I could have, or that anyone other than me is obliged to agree with my answer or even care what the possible answers are — it may not be a great novel, who knows? — but many critics seemed to be offended that I had asked the question in the first place. It was the refusal to engage, and the smug self-satisfaction of the unengaged, that hurt me far more than the negativity itself.
I started this paragraph planning to say that I’m no longer as upset by this as I was then, but it’s obviously not true. I’m still upset — maybe not in a day-to-day “Arya Stark’s revenge list” way, but still. I hate the part of American culture that prides itself on its shallowness, the cold and at least honest “fuck you” reduced even further to the squirrelly and smirking “WTF,” and I hate that we — literary culture — have allowed the infection to cross our borders. One does try to be a good literary citizen, and most of the time it’s a decent country to be citizen of, but other times it feels like you’re wading to middle school through a waist-deep river of shit. So, let me end on a positive — and sane — note by mentioning my single favorite response to The Gospel of Anarchy, which came in the form of a nine-panel comic by Horn! Reviews, which is the project of Kevin Thomas. He just understood exactly what I was after, met me where I was, produced art in response to art. All of which reassured me, at a time when I needed to hear it, that I wasn’t completely nuts to have gone about things the way I did. If Gospel ever gets reissued, his comic is going on the cover. In fact, there won’t be anything else on the cover. The whole cover will just be it.”
6. Anthony Marra on A Constellation of Vital Phenomena (2013)
I still do get a jolt of pride whenever I see Constellation in a bookstore, but now it’s more a nod across the room to an old friend. The greatest change has been the realization that when you publish a book, it stops being yours and begins belonging to whoever reads it. At an event a couple months back, a woman asked a question about the specifics of a particular plot point. I haven’t read Constellation since I finished writing it four years ago, and to my embarrassment, I’d forgotten the exact details of the scene in question. A couple other people in the crowd immediately jumped in with their own interpretations and I silently stood at the podium, relieved to listen to readers tell me what my book is about.
The Tsar of Love and Techno (Hogarth) is forthcoming on October 13.
It’s no secret that newspaper book sections are endangered. Earlier this month, the Atlanta Journal Constitution eliminated its book editor position, placing the fate of the paper’s well regarded book section in question. Many are assuming the worst, that the newspaper will eliminate the section entirely. There’s even a petition to protect the AJC book review.With newspapers increasingly under fire from investors as once robust profit margins sag due to unprecedented competition from the Web and other forms of media and entertainment, many of these companies are looking to trim their operations in order to cut down on the costs of newsprint and personnel. Viewed in this light, book sections are dead weight.The problem is that the book section business model is broken. As The Wall Street Journal reported (sub. req.) last month, publishers, the natural advertisers for book sections, don’t spend much on ads because they find the ads to be too expensive or ineffective. This fact puts book sections at a big disadvantage as compared to other parts of the newspaper, all of which must pull their weight. Business sections, for example, do well because the financial profile of their readers inspires a willingness among advertisers to spend big bucks to reach them.The broken business model of book sections has led a number of newspapers to take drastic steps. To this end, the LA Times recently unveiled a combined books/opinion section. The Chicago Tribune, the LA Times’ sister paper, has taken a different tack, announcing that it will move its book section from Sunday to Saturday. The Tribune says that this move will “usher in a new era of the Tribune’s coverage of books, expanding our coverage of books, ideas and the written word throughout the newspaper and across the week.” In addition, “moving the section to Saturday will separate it from the Sunday newspaper, which already is bursting at the seams with essential reading, and make a prominent place for it on a new day of the week.” This is all well and good – and certainly better than eliminating the book section altogether – but as the Chicago Reader noted over a year ago, when the book section switch was originally floated, “Saturday’s press run is some 400,000 copies smaller than Sunday’s. The annual savings in newsprint alone would reach half a million dollars.” When the Tribune realized that stuffing an extra section into the Saturday paper would require them to pay their distributors more, they backed off, and converted the section to tabloid format, another newsprint saver. Seventeen months later, the paper appears to have realized that a switch to Saturday makes financial sense after all.Ultimately, however, none of these measures will be satisfying to book section readers, and the fact is, except perhaps at the New York Times, there is little future for book sections showing up with our Sunday papers. The future of newspapers isn’t in paper, and the same is doubly so for book sections.I’ve been surprised that the many blogs that have decried the disappearance of book sections are the same ones that point out the obsolescence of newspapers – particularly their cultural coverage – in the face of a wealth of online alternatives. If our newspapers are going to be obsolete, our book sections will become obsolete as well. The tricky solution to all of this, of course, is the very medium that continues to beguile newspapers: online. There are still challenges here – as yet online ads don’t pay nearly as well as print – but as book blogs have in some respects shown, there is a big audience for online book coverage, and online allows the discussion of books to break out of the “review” mold that may be contributing to the decline in the viability of newspaper book sections. The important thing to remember, I think, is that the disappearance of book sections isn’t a book section problem, it’s a newspaper industry problem, and the solution to book section woes will come with the solutions to the larger newspaper industry problems.