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The Millions’ Great Spring 2026 Book Preview
As we slowly recover from one belligerent winter, we can look to spring as a time of growth, renewal, abundance—and nothing could be more abundant than the season's noteworthy books. Below, you’ll find 140 titles out this spring that we’re excited about here at The Millions. Some we’ve already read in galley form; others we’re simply eager to dive into based on their authors or subjects. We leaned on our friends at Publishers Weekly to help blurb some of the many, many titles that we’re eager to put on your radar.
—Sophia Stewart, editor
*
April
Transcription by Ben Lerner (FSG)
In the beautiful and resonant latest from Lerner, a middle-aged man constructs an elaborate farewell to his mentor. Read more.
One Leg on Earth by ‘Pemi Aguda (Norton)
The marvelous debut novel from National Book Award finalist Aguda follows a young woman whose arrival in Lagos for an exciting career opportunity coincides with a series of harrowing suicides by pregnant women. Read more.
Work to Do by Jules Wernersbach (University of Iowa Press)
Wernersbach's debut follows a queer-owned Austin co-op as it prepares to unionize amid Texas hurricane season.
The Ritz of the Bayou by Nancy Lemann (Hub City)
The 1985-86 trials of Louisiana’s flamboyant Gov. Edwin Edwards on charges of crooked hospital deals and other racketeering is compellingly reported by Lemann, a New Orleans–born author with a New York City perspective. Read more.
Gather by Ashanté M. Reese (Norton)
In this phenomenal meditation on food’s role in Black history and culture, anthropologist Reese shares guiding principles gleaned from Black social gatherings that can help combat hunger and food insecurity. Read more.
Ghost Town by Tom Perrotta (Scribner)
A middle-aged man makes peace with his childhood trauma in Perrotta’s stellar latest. Read more.
Inheritance by Jane Park (Pegasus)
Upon returning to Canada for her father’s funeral, a young woman must confront her childhood and the legacy of guilt, sacrifice, and resilience that accompanies the immigrant experience.
London Falling by Patrick Radden Keefe (Doubleday)
“The truth is, everybody lies,” observes New Yorker staff writer and National Book Critics Circle award winner Keefe in this gripping investigation into a young man’s mysterious death in 2019 London. Read more.
Last Night in Brooklyn by Xochitl Gonzalez (Flatiron)
In her third novel, the author reimagines The Great Gatsby as a story of 2007 Fort Greene, with women in the male roles and vice versa. Read more.
Fourteen Ways of Looking by Erin Vincent (Deep Vellum)
Vincent parses and probes the death of her parents in a traffic accident when she was 14 years old through artfully arranged fragments—most of which contain the number 14.
My Dear You by Rachel Khong (Knopf)
In these provocative stories, Khong offers well-wrought and intricate depictions of Asian American and Asian life, often with a fantastical or speculative twist. Read more.
Empire of Skulls by Paul Stob (Counterpoint)
Stob, a professor of American studies and communication studies at Vanderbilt, casts a light on one family’s outsize role in the rise of phrenology. Read more.
Like This, But Funnier by Hallie Cantor (S&S)
When the reader meets Caroline Neumann, the TV comedy writer at the center of Cantor’s hilarious and propulsive debut, her life is in shambles. Read more.
After Oscar by Merlin Holland (Europa)
In this unique biography, Holland, Oscar Wilde’s grandson, explores the long-lasting impact of Wilde’s criminal conviction for homosexuality in London in 1895 and seeks to clear up misconceptions related to the incident. Read more.
Witches by Steven Veerapen (Pegasus)
Veerapen offers a stirring account of witches across the ages, from the witchcraft trials under King James VI to the ultimate decline of witch-hunting in the early 1700s.
The Oyster Diaries by Nancy Lemann (NYRB)
Lemann takes readers back to the world of her 1985 cult classic Lives of the Saints with an easygoing and lovely novel of late middle-age. Read more.
Picture of Nobody by Philip Owens (McNally Editions)
The forgotten modernist reimagines Shakespeare as a young writer in 1930s London in this strange, sharp satire.
Fidelty by Susan Glaspell (Belt)
First published in 1915, Glaspell’s feminist novel chronicles an affair between a woman and a married man—and how its ramifications echo across their small hometown in Iowa.
If This Be Magic by Daniel Hahn (Knopf)
Translator Hahn shows how Shakespeare’s intricate wordplay is preserved and transformed into other languages in this lively exploration. Read more.
Afternoon Hours of a Hermit by Patrick Cottrell (Ecco)
In this noir-tinged novel, a trans author returns to his childhood home after receiving a mysterious envelope in the mail with a photo of his deceased brother. Read more.
Body Double by Hanna Johansson, tr. Kira Josefsson (Catapult)
Johansson explores themes of doppelgängers, loneliness, and selfhood in her sly latest. Read more.
Wifehouse by Sonya Walger (Union Square)
Through shifting perspectives, Walger offers a nuanced portrait of a woman who embarks on an affair with her much-younger French tutor.
Starstruck by Christopher McDougall (Vintage)
McDougall delivers a propulsive, horrifying account of the sexual abuse scandal involving Mexican pop singer Gloria Trevi and her manager, Sergio Andrade, which he previously covered in 2001’s Girl Trouble. Read more.
Visitations by Julia Alvarez (Knopf)
In her prismatic fourth collection, novelist, memoirist, and poet Alvarez spins richly detailed micro-narratives of her childhood in the Dominican Republic in the 1950s, her young adulthood in New York City, and beyond. Read more.
A Private Man by Stephanie Sy-Quia (Grove)
A vivacious woman falls in love with a priest in 1950s England in the emotive and revelatory debut novel from poet Sy-Quia. Read more.
The Madness of Believing by Josh Owens (Grand Central)
Owens, who dropped out of film school at 24 to accept a job offer from Infowars, reflects on his fall into a world of conspiracy theories, propaganda, and disinformation—and what it means for the rest of us.
Leave Your Mess at Home by Tolani Akinola (Pamela Dorman)
Akinola’s debut takes a closer look at the American Dream through four siblings who reunite at their Nigerian immigrant parents’ Thanksgiving table after a decade apart.
How Black Music Took Over the World by Melvin Gibbs (Basic)
The intricate rhythms and protean harmonies of Africa lie at the heart of most modern music, according to this exuberant debut study. Read more.
The Witch by Marie NDiaye, tr. Jordan Stump (Knopf)
Witchcraft and family strife animate this 1996 novel by NDiaye, winner of the Prix Goncourt for Three Strong Women. Read more.
Midnight, at the War by Devi S. Laskar (Mariner)
Combining the drama of newsrooms, global conflicts, and personal strife, Laskar’s novel follows a foreign correspondent as she is dispatched to the war-torn Middle East in the aftermath of 9/11.
Famesick by Lena Dunham (Random House)
In her latest memoir, the writer and director contends with her swift, and often turbulent, rise to fame across three acts.
Ultranatural by Candice Wuehle (University of Iowa Press)
Wuehle’s latest sees a pop idol forced to confront her small-town past in Appalachia—and the friendship that first threatened her rise to stardom years before.
The Palm House by Gwendoline Riley (NYRB)
From the author of My Phantoms and First Love comes a slender, subtle meditation on friendships and how they endure during times of strife.
Surrender by Jennifer Acker (Delphinium)
Unfolding across the bountiful fields of New England, this bildungsroman follows a 47-year-old goat farmer as she reunites with her high school best friend—and realizes she wants more from her than just friendship. Read more.
Dear Monica Lewinsky by Julia Langbein (Doubleday)
For Jean Dornan, the protagonist of Langbein’s incandescent sophomore novel whose life is still in shambles following a toxic relationship with her college professor almost two decades earlier, it feels like “#MeToo had come and gone like a parade two streets over.” Read more.
American Spirits by Anna Dorn (S&S)
Dorn spins an enjoyable if chaotic satire of celebrity culture and the dark side of fandom. Just like its characters, this is messy and appealing in equal measure. Read more.
Talking Classics by Mary Beard (UChicago Press)
In her newest book, the renowned classicist considers our ongoing fascination with the ancient world and the role of antiquity in the popular imagination.
The First Emancipation by Jeremy D. Popkin (Princeton University Press)
Popkin expertly traces the influence of race on the French Revolution, charting how France became the first western country to abolish slavery throughout its empire—only to return many formerly enslaved people to bondage years later.
How It Feels to Be Alive by Megan O'Grady (FSG)
Critic and essayist O'Grady looks closely at five artworks and the circumstances of their creation, testing Barbara Kruger’s assertion that art offers the “ability to show and tell ... how it feels to be alive.”
The Memory Museum by M Lin (Graywolf)
Lin debuts with a perceptive story collection about the unsettled lives of characters who were born in China and are now scattered around the world. Read more.
Small Boat by Vincent Delecroix, tr. Helen Stevenson (Mariner)
A French coast guard officer confronts the existential dilemma of her job in the thought-provoking English-language debut by novelist and philosopher Delecroix. Read more.
Tosquelles: Healing Institutions by Francesc Tosquelles, tr. Robert Hurley and Mara Faye Lethem (Semiotext(e))
This rigorous anthology, the first of its kind, gathers the Catalan psychiatrist’s intellectual, clinical, and political writings, many of which have yet to appear in English.
Concert Black by Michael O'Donnell (Blackstone)
In this twisty novel, a biographer doggedly pursues a legendary but elusive conductor who is determined to thwart her efforts, setting them on a dramatic collision course.
Israel: What Went Wrong? by Omer Bartov (FSG)
American-Israeli Holocaust scholar Bartov offers a powerful meditation on his birth country’s turn toward violence. Read more.
Small Town Girls by Jayne Anne Phillips (Knopf)
Pulitzer-winning novelist Phillips takes a lyrical look at her West Virginia upbringing in this wonderful memoir-in-essays. Read more.
Exemplary Humans by Juliana Leite, tr. Zoë Perry (Two Lines)
In Leite’s ambitious English-language debut, a 100-year-old woman revisits her past, all while believing that a spy is watching her through her window.
American Men by Jordan Ritter Conn (Grand Central)
This immersive account from Ringer senior staff writer Conn profiles four American men whose lives uniquely tangle with an “inherited masculine ideal.” Read more.
Muskism by Quinn Slobodian and Ben Tarnoff (Harper)
In this searing analysis of Elon Musk, historian Slobodian and tech journalist Tarnoff argue that, just as Fordism “was the operating system” of the 20th century, “Muskism” is that of the 21st. Read more.
Middlemen by Laura B. McGrath (Princeton University Press)
McGrath, an English professor at Temple University, debuts with an enlightening study of how agents have shaped the American literary landscape. Read more.
When the World Sleeps by Francesca Albanese (Other Press)
“I am writing these words at a strange moment in my life: I have just been sanctioned by the United States.... for the absurd ‘crime’ of allegedly working with the International Criminal Court,” begins this incisive, heart-wrenching account from UN special rapporteur Albanese. Read more.
Questions 27 & 28 by Karen Tei Yamashita (Graywolf)
In this innovative polyphonic novel, Yamashita blends archival documents with fictional flourishes to chronicle the detention, forced removal, and conscription of Japanese Americans during WWII. Read more.
All Flesh by Ananda Devi (FSG)
At the beginning of this sensual and provocative novel by Mauritian writer Devi, the unnamed but unforgettable narrator announces she’s about to livestream her own “sacrifice.” Read more.
Mrs. Benedict Arnold by Emma Parry (Zando)
Parry debuts with a reimagining of the life of Peggy Shippen, wife of that infamous turncoat, as she navigates the political currents of the American Revolution and conspires to commit treason.
Fat Swim by Emma Copley Eisenberg (Hogarth)
The protagonists of this glittering story collection from Eisenberg grapple with the messiness of desire and their relationship to their bodies as queer and fat people. Read more.
Presence by Erin Maglaque (Astra House)
Maglaque's sweeping history of women's bodies braids personal experience with scholarship to probe the ways the female form has been politicized through sex, abortion, pregnancy, caregiving, and labor.
Aside from My Heart, All is Well by Héctor Abad, tr. Anne McLean (Archipelago)
Colombian author Abad follows The Farm with a mesmerizing chronicle of Luis Cordóba, an opera-loving priest and film critic, based loosely on the life of Luis Alberto Alvarez (1945–1996). Read more.
The Book That Taught the World to Orgasm and Then Disappeared by Rosa Campbell (Melville House)
Historian Campbell debuts with a revelatory biography of sex researcher Shere Hite (1942–2020), best known for her 1976 publication, The Hite Report. Read more.
*
May
Keeper of My Kin by Ada Ferrer (Scribner)
Pulitzer winner Ferrer traces the impact of her family’s migration in this wrenching account. Read more.
Patient, Female by Julie Schumacher (Milkweed)
This shrewd short story collection explores the messy, mundane realities of both girl- and womanhood from every possible angle.
Honey by Imani Thompson (Random House)
Thompson debuts with the scintillating tale of a disillusioned Cambridge University PhD student who goes on a killing spree. Read more.
Abundance by Hafeez Lakhani (Counterpoint)
Lakhani’s perceptive debut follows the fates and fortunes of an Indian American family facing an impending loss. Read more.
A Little Bit Bad by Cassandra Neyenesch (Summit)
Neyenesch’s darkly funny debut splices a murder mystery with a torrid extramarital affair between a sleep-deprived new mother and her roofer. Read more.
Ugly: A Letter to My Daughter by Stephanie Fairyington (Pantheon)
Journalist Fairyington examines beauty standards and reflects on her meandering road to self-acceptance in her bold debut. Read more.
Five Weeks in the Country by Francine Prose (Harper)
Hans Christian Andersen visits Charles Dickens and his family in this revealing novel from Prose. Read more.
Violent Phenomena, ed. Kavita Bhanot and Jeremy Tiang (HarperVia)
Across 22 essays by established and emerging translators alike, this captivating anthology proposes radical alternatives to the act of literary translation, all while grappling with its imperial legacies.
The Hill by Harriet Clark (FSG)
Clark blends vivid Kafkaesque motifs with a whimsical coming-of-age narrative in her beautiful debut. Read more.
The Fifth Year by Marlen Haushofer, tr. Shaun Whiteside (New Directions)
Four-year-old Marili learns about life and death and discovers the beauty of the natural world in this deeply perceptive and sensuous 1951 novella from Austrian writer Haushofer. Read more.
John of John by Douglas Stuart (Grove)
Booker Prize winner Stuart showcases his impressive gift for characterization in this perceptive and propulsive story of a tight-knit community of Gaelic-speaking sheep farmers and weavers on the remote Scottish isle of Harris. Read more.
Take a Picture, It Will Last Longer by Brooke DiDonato (Thames & Hudson)
This monograph collects the photographer’s surrealist images, which distort and reimagine familiar and domestic spaces.
Ghost Stories by Siri Hustvedt (S&S)
“I am alive. My husband, Paul Auster, is dead,” writes Hustvedt in the opening sentences of this tender tribute to Baumgartner author Auster, who died of lung cancer in 2024. Read more.
Adrift in the South by Xiao Hai (Granta)
Xai's memoir lays bare the realities of migrant labor in 21st-century China, from the alienation of the factory floor to the hope found in telling one's story.
A Siege of Owls by Uchenna Awoke (Catapult)
Nigerian author Awoke offers a captivating and magic-fueled adventure set in contemporary Africa. Read more.
The Lost Soldiers by Andrey Kurkov, tr. Boris Dralyuk (HarperVia)
The difficulty of solving crimes in a war-ravaged city is at the core of Ukrainian novelist Kurkov’s excellent third mystery featuring novice police investigator Samson Kolechko. Read more.
The Foursome by Christina Baker Kline (Mariner)
Orphan Train author Kline offers a daring and deeply empathetic tale of the sisters who married conjoined twins Chang and Eng Bunker (1811–1874). Read more.
Seek Immediate Shelter by Vincent Yu (Flatiron)
Residents of an Asian American community in Western Massachusetts respond in consequential ways to a false alert of a “ballistic missile threat” in Yu’s resonant debut. Read more.
Memory House by Elaine Kraf (Modern Library)
In this arresting posthumous novel from Kraf, who died in 2013, washed-up writer Marlane Frack attends a mysterious retreat for former artists. Read more.
The Lost Book of Lancelot by John Glynn (Grand Central)
The entertaining debut novel from memoirist Glynn puts a queer spin on Arthurian legend. Read more.
American Rambler by Isaac Fitzgerald (Knopf)
In this lyrical travelogue, memoirist Fitzgerald recounts a yearlong journey he took from Massachusetts to Indiana that was inspired by his childhood love of Johnny Appleseed. Read more.
Night Train by Xu Zechen, tr. Jeremy Tiang (Two Lines)
Hoping for a vacation before beginning his PhD program, an erratic student concocts a story about killing someone and needing to flee in Xu's latest novel.
America, U.S.A.: How Race Shadows the Nation’s Anniversaries by Eddie S. Glaude Jr. (Crown)
Bestseller Glaude offers a forceful counternarrative to the official commemoration of America’s 250th anniversary by surveying the horrors attendant to some of the nation’s previous anniversaries. Read more.
Kitchen Venom by Philip Hensher (McNally Editions)
First published three decades ago, this inventive novel unravels the scandals that wracked Margaret Thatcher’s government through the eyes of the Iron Lady herself.
Electric Shamans at the Festival of the Sun by Mónica Ojeda, tr. Sarah Booker (Coffee House)
Ojeda delivers an intense and remarkable polyphonic hymn to the consoling and destructive power of music. Read more.
What's So Great About Great Books? by Naomi Kanakia (Princeton University Press)
The novelist and literary blogger makes the case that, despite their frequent difficulty and contentiousness, reading the “Great Books” is not only beneficial but necessary.
Attention-Seeking Behavior by Aea Varfis-van Warmelo (Graywolf)
In this genre-defying novel, an self-identified liar spins tales of love and betrayal, while we readers attempt to parse whether she’s telling the truth, or just looking for attention.
On Witness and Respair by Jesmyn Ward (Scribner)
The two-time National Book Award winner's creative nonfiction is collected here, from her most beloved essays to never-before-published speeches.
The Danger to Be Sane by Rosa Montero, tr. Lindsey Ford (Europa)
In this unique exploration, Spanish journalist and novelist Montero unpacks the relationship between creativity and madness. Read more.
How to Rule the World by Theo Baker (Penguin)
In this incendiary account, debut author Baker details how a tip he received as a freshman student journalist at Stanford University led to the resignation of university president Marc Tessier-Lavigne. Read more.
Memory Rehearsal by Eleni Sikelianos (City Lights)
Mixing poetry, prose, and archival materials, this hybrid text excavates the legacy of the author’s great-grandmother, classical Greek revivalist Eva Palmer.
The Land and Its People by David Sedaris (Little, Brown)
Humorist Sedaris returns with a funny and heartfelt essay collection on friendship, family, and aging. These essays are among the best of his career. Read more.
Glyph by Ali Smith (Pantheon)
Booker finalist Smith offers a clever and enjoyable companion piece to her 2025 novel, Gliff. Read more.
Artifacts by Natalie Lemle (S&S)
A repatriation case against a New York City museum forces a lawyer to revisit troubling memories from her college summer abroad in Lemle’s suspenseful debut. Read more.
I Would Die If I Were You by Emily Rapp Black (Counterpoint)
In her latest memoir, Rapp Black draws on two decades of teaching to meditate on disability, grief, and empathy across art.
Binary Star by Sarah Gerard (Seven Stories)
A teacher in training struggles with anorexia and a troubled relationship throughout this new paperback edition of Gerard’s 2015 debut novel in verse. Read more.
Lost Worlds by Patrick Wyman (Harper)
Historian Wyman upends myths about the rise of civilization in this profound and enchanting study. Read more.
Tarantula by Eduardo Halfon, trans. by Daniel Hahn (Bellevue Literary)
Guatemalan writer Halfon reflects on his time at a nightmarish summer camp in this resonant autofiction. Read more.
Mare by Emily Haworth-Booth (FSG)
A woman develops an all-consuming infatuation with the mare she leases part-time in Haworth-Booth’s alluring first novel.
It’s Hard to be an Animal by Robert Isaacs (Grand Central)
Riffing on Doctor Doolittle, the exciting and hilarious debut from Isaacs follows a 28-year-old New Yorker who suddenly develops the ability to hear what animals are saying. Read more.
Helen Levitt by Joshua Chuang (Thames & Hudson)
This groundbreaking survey catalogs the work of American photographer Helen Levitt (1913-2009), who, across six decades, captured the streets of her native New York City with startling intimacy.
Hope House by Joe Bond (Hub City)
Bond’s gut-punch of a debut centers on Hope House, a Kentucky group home for a motley crew of boys who, in the 1980s, don’t have much of a future ahead of them—most likely prison, living on the streets, or worse. Read more.
Pretend You're Dead and I'll Carry You by Julián Delgado Lopera (Norton)
Delgado Lopera dives into Colombia’s taboo queer culture in this scintillating narrative of a man torn between belonging and self-expression. Read more.
The Vivisectors by Missouri Williams (MCD)
In the hypnotic sophomore outing from Williams, a professor’s personal assistant gets drawn into a strange triangle with her boss and a male student. Read more.
The Story of Marie Powell, Wife to John Milton by Robert Graves (Seven Stories)
This reissue of Graves’s 1943 classic delves into the life of Marie Powell, who, at 16 years old, was pushed into marrying one of England’s greatest epic poets.
Spawning Season by Joseph Osmundson (Bloomsbury)
Biophysicist Osmundson blends memoir and science writing in this moving meditation on queer family, the climate crisis, and 21st-century child-rearing. Read more.
No God But Us by Bobuq Sayed (Harper)
Sayed’s impressive debut tells the parallel stories of two gay men who meet in 2015 Istanbul. Read more.
The Disease of Boredom by Josefa Ros Velasco, tr. Kyle Rosen (Princeton University Press)
In this thought-provoking historical account, Ros Velasco, a professor at the Complutense University of Madrid, demystifies a misunderstood emotion.
Prophecies by Chrisopher Dell (Thames & Hudson)
Across nine richly illustrated chapters, art historian Dell reveals how we've grappled with the future and its attendant uncertainties through the divine, the occult, and the supernatural.
And, How Have You Been by Maria Judite de Carvalho, tr. Margaret Jull Costa (Two Lines)
This collection gathers the late stories of the Portuguese author (1921-1998), known for her incisive prose and finely-tuned portraits of women, translated into English for the first time.
*
June
Whistler by Anne Patchett (Harper)
Patchett follows 2023’s Tom Lake with another perfectly executed and quietly profound family drama. Read more.
The Children by Melissa Albert (Morrow)
The 30-something daughter of a famous novelist looks back on her traumatic Vermont childhood in the eerie and assured adult debut from YA author Albert. Read more.
The Hidden History of Conspiracy Theory by Andrew McKenzie-McHarg (Princeton University Press)
From Machiavelli to QAnon, this incisive account charts how the conspiracy theories have evolved—and remained the same—throughout the centuries.
My Year in Paris with Gertrude Stein by Deborah Levy (FSG)
A transplanted Londoner in contemporary Paris struggles to write an essay on Gertrude Stein in this arch novel from Levy. Read more.
Meeting New People by Daniel M. Lavery (HarperVia)
Following Women’s Hotel, Lavery returns with a novel about a 50-something, twice-divorced woman looking back on the dissolution of the nine best friendships of her life.
Cut Out by Fiona Rogers (Thames & Hudson)
Complete with 200 color illustrations, this comprehensive volume explores the relationship between photography, feminist art, and collage through the collection of the V&A.
Good-Bye by Osamu Dazai, tr. Ralph McCarthy (New Directions)
This new collection of eleven short stories and vignettes, many never before translated into English, is sure to appeal to the rabid fanbase of the Japanese writer (1909–1948), best known for his portraits of despair.
1873 by Liaquat Ahamed (Penguin)
The latest from the Pulitzer Prize–winning financial historian reckons with the fraught legacy of the Rothschilds and the famous banking family's role in one of the world’s worst economic collapses.
It’s All River by Carla Madeira, tr. Alison Entrekin (Liveright)
In this taut narrative, the Brazilian writer offers the story of a prostitute caught in a twisted love triangle—and the destruction it leaves in its wake.
Like a Cat Loves a Bird by James Bailey (Princeton University Press)
Bailey's stylish biography traces the arc of Spark’s life and literary career, both of which spanned nearly the entire 20th century.
Bone Horn by Prudence Bussey-Chamberlain (Soft Skull)
Picasso once quipped that Alice B. Toklas's bangs hid the stump of a horn—and in Bussey-Chamberlain's queer detective novel, a newly registered private investigator attempts to track it down.
Freedom by Zinzi Clemmons (Viking)
The electrifying nonfiction debut from novelist Clemmons muses on the thorny concept of freedom in “a world buckling from the consequences of centuries of interlocking injustices.” Read more.
A Sense of Occasion by Brodie Crellin (Riverhead)
The British novelist's debut sees a dysfunctional family reunite in a small English village for their matriarch's funeral over a sweltering summer weekend.
Quake by Kitty Mrosovky (McNally Editions)
Mrosovsky, who died in 1995, weaves a sensuous tale of female desire—unpublished in her life time—in which a woman grows increasingly enamored with her younger Italian lover.
Rasputin Swims the Potomac by Ben Fountain (Flatiron)
Fountain's satire imagines an alternate reality not that far from our own, complete with a mysterious pandemic, a desperate president, and a pro wrestler thrust into the political limelight.
Two Ships by David S. Reynolds (Penguin)
Reynolds maps the how the arrival of two ships—The White Lion, which brought the first enslaved Africans to Jamestown in 1619, and the Mayflower, which brought the Pilgrims to Plymouth Rock in 1620—set the stage for centuries of American polarization.
Pool House by Mary H.K. Choi (Flatiron)
At the heart of Choic's adult debut is the tense relationship between a mother and daughter, both of whom live in their backyard pool house while renting out their main home to pay the bills.
Empire of Ink by Alex Wright (Basic)
Wright's history traces the rise of the American newspaper from the Revolutionary War through to the 20th century, and the radical spirit behind its inception.
On the Other Side Is March by Sólrún Michelsen, tr. Marita Thomsen (Transit)
A middle-aged woman adjusts to being a grandmother and caretaker for her own mother in the wake of her father’s death, in the poignant English-language debut from Michelsen—the first female Faroese writer to ever appear in the language. Read more.
Dodsworth by Sinclair Lewis (S&T Classics)
Lewis’s 1929 satire, about millionaire auto manufacturer whose marriage is imperiled by his wife's European vacation, returns in a new edition with insights from scholars Nissa Ren Cannon and Sheila Liming.
There’s Only One Sin in Hollywood by Rasheed Newson (Flatiron)
The My Government means to Kill Me author returns with a novel set in 1950s Hollywood and propelled by the untimely death of a young Black movie star.
The Summer of the Serpent by Cecilia Eudave, tr. Robin Meyers (Soho Press)
Set during a sweltering summer in 1977, this fragmented novel takes a surrealist tack to excavate the secrets of a quiet, residential neighborhood in Guadalajara.
The Perfect Moment by Isaac Butler (Bloomsbury)
The National Book Critics Circle Award–Winner returns with a smart cultural history of today's culture wars, arguing that their origins lie in a 1988 attempt by Pat Buchanan and other conservatives to stir up moral panic about contemporary artists like Robert Mapplethorpe.
The Narrow Road of Oku by Bashō, tr. Meredith McKinney (New Directions)
McKinney's translation breathes new life the Edo-era poet's now-famous travelogue chronicling his pilgrimage from Tokyo to Lake Biwa.
Cleanup on Aisle Five by Ann Larson (One Signal)
This illuminating debut chronicle turns Larson’s pandemic-era stint as a grocery worker into a rallying cry against corporate greed. Read more.
Without Terminus by Chaun Webster (Graywolf)
In his first work of nonfiction, the poet braids together memoir, archival research, visual poetics, and cultural criticism to explore anti-Black violence, inheritance, and memory, as well as his own grandfather's experience as a Pullman porter.
I’ll Take the Fire by Leila Slimani (Penguin)
Slimani's autobiographical coming-of-age novel follows a woman who, after growing up in socially conservative Morocco, embarks on a quest for political and sexual freedom.
The Cruelty of Nice Folks by Justin Ellis (Harper)
In this penetrating and moving debut, journalist Ellis examines past and present African American life in his hometown of Minneapolis. Read more.
Shakespeare’s Margaret by Charles O’Malley and Scott W. Stern (Norton)
Theater critic O’Malley and lawyer Stern assemble an enthralling history of Shakespeare’s portrayal of Margaret of Anjou, who married Henry VI at 14 and ruled during the War of Roses. Read more.
Trash! A Garbageman’s Story by Simon Pare-Poupart, tr. Pablo Strauss (Melville House)
“The garbageman is the Sisyphus of our consumer society, condemned to go from house to house picking up bags, swept along day after day in the never-ending flow of refuse we produce,” writes Montréal sanitation worker Pare-Poupart in his bewitching debut memoir. Read more.
The Sixth Nik by Daniel Kraus (Saga)
This galaxy-spanning adventure follows a nine-year-old cultist with a tech-enhanced brain as boards a mysterious spaceship to investigate an even more mysterious planet.
Weimar by Katja Hoyer (Basic)
Following her history of East Germany, the historian and journalist returns with a sprawling chronicle of interwar Germany, as told through the town of Weimar—which, Hoyer notes, was both the site of the country's first democracy and the first place Nazis were welcomed into local government.
The Millions’ Great Winter 2026 Preview
Winter demands that we slow down, take stock, rest. And while we hibernate, books can keep us company. Luckily, this season, there are plenty of noteworthy new reads to fill these cold, short days.
Below, you’ll find 100 titles out this winter that we’re excited about here at The Millions. Some we’ve already read in galley form; others we’re simply eager to dive into based on their authors or subjects. We leaned on our friends at Publishers Weekly to help blurb some of the many, many titles that we’re eager to put on your radar.
The Millions is, alas, still on hiatus, but we’re determined to continue bringing you our seasonal Most Anticipated previews in the interim (if a bit belatedly).
—Sophia Stewart, editor
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January
Call Me Ishmaelle by Xiaolu Guo (Black Cat)
NBCC Award winner Guo delivers a spectacular retelling of Moby-Dick, in which she recasts Ishmael as a 17-year-old girl and Ahab as a Black freedman named Seneca who’s battling the “white devil.” Read more.
Philosophy of Writing by David Arndt (Bloomsbury Academic)
In his latest, the comparative literature professor proposes new frameworks through which to understand writing not just as a craft, but as a philosophical undertaking.
Nothing Random by Gayle Feldman (Random House)
This cinematic biography of Random House founder Bennett Cerf from longtime PW writer Feldman teems with a star-studded cast including Truman Capote, James Joyce, Alfred Knopf, Ayn Rand, and Dick Simon. Read more.
Palinuro of Mexico by Fernando del Paso, tr. Elizabeth Plaister (Dalkey Archive)
Virgil's Palinurus was Aeneas's helmsman who fell victim to the god of sleep; his namesake in this complex, beautiful novel, is also a guide to a novel that straddles the conscious and subconscious, life and death. Read more.
The Last of Earth by Deepa Anappara (Random House)
Edgar winner Anappara offers a vivid narrative of two 1869 expeditions into Tibet at a time when it was still closed off to outsiders and its rivers and mountains were mostly uncharted. Read more.
Fire Sword and Sea by Vanessa Riley (Morrow)
Riley’s exciting latest follows a young Haitian woman’s fight against slavery and her turn toward piracy. Read more.
We Would Have Told Each Other Everything by Judith Hermann, tr. Katy Derbyshire (FSG)
In this deeply affecting English-language debut, German writer Hermann reflects on the connections between art and experience, delving into her protagonist’s family history in West Germany and the relationships that shaped her life. Read more.
The Hitch by Sara Levine (Roxane Gay)
Levine serves up a bizarre and mordantly funny tale of a six-year-old who might be possessed by a dead corgi. Read more.
This Is Where the Serpent Lives by Daniyal Mueenuddin (Knopf)
Mueenuddin’s lavish sophomore effort spans six decades and traces the lives of a wealthy Pakistani clan and those who work for them. Read more.
The School of Night by Karl Ove Knausgaard, tr. Martin Aitken (Penguin)
In Knausgaard’s ingenious fourth entry in the Morning Star series, a self-absorbed Norwegian photographer strikes a Faustian bargain in exchange for success. Read more.
The Snakes That Ate Florida by Ian Frazier (FSG)
In this substantial yet brisk collection, essayist and humorist Frazier compiles highlights from his half-century career at the New Yorker and other outlets. Read more.
Strangers: A Memoir of Marriage by Belle Burden (Dial)
Immigration lawyer Burden traces the exhilarating start and excruciating dissolution of her two-decade marriage in this bruising debut. Read more.
Pedro the Vast by Simón López Trujillo (Algonquin)
In Trujillo’s equally heady and thrilling sci-fi debut, panic attack–prone mycologist Giovanna Oddó is summoned to a provincial Chilean hospital to consult on a strange case of “lethal blight” believed to be caused by the mushroom Cryptococcus gatti. Read more.
The Old Fire by Elisa Shua Dusapin, tr. Aneesa Abbas Higgins (Summit)
In the quietly affecting latest from Dusapin, two sisters reunite to clear out their family home in the French countryside. Read more.
Discipline by Larissa Pham (Random House)
Pham, author of the memoir Pop Song, turns to fiction with the dazzling story of an art critic who publishes a novel about the former professor who rejected her after their affair. Read more.
Eating Ashes by Brenda Navarro, tr. Megan McDowell (Norton)
The grieving unnamed narrator of Mexican writer Navarro’s spellbinding U.S. debut ruminates on the effects of migration. Read more.
Scale Boy by Patrice Nganang (FSG)
In this gorgeous memoir, Cameroonian novelist Nganang chronicles his coming of age in the 1970s and ’80s and his decision to pursue a literary life. Read more.
Fanny Hill: Or, Memoirs of a Woman of Pleasure by John Cleland (Unnamed)
Banned from publication in the U.S. until 1966, Cleland’s erotic novel from 1749 offers an account of a woman’s early days of prostitution in 18th-century London.
Iconophages by Jérémie Koering, tr. Nicholas Huckle (Princeton UP)
In this adroit English-language debut, Koering, an art history professor at the University of Fribourg in Switzerland, surveys the long and surprising tradition of how “figured representations” have been ritualistically consumed. Read more.
One Aladdin Two Lamps by Jeanette Winterson (Grove)
Critic and fiction writer Winterson anchors this dazzling memoir-in-essays in her childhood obsession with One Thousand and One Nights, the collection of Middle Eastern folktales that introduced magic lamps and flying carpets to the West. Read more.
When Trees Testify by Beronda Montgomery (Holt)
Plant biologist Montgomery mixes memoir, history, and science in this unique examination of the significance of trees in Black history. Read more.
The Flower Bearers by Rachel Eliza Griffiths (Random House)
In her stunning debut memoir, poet and novelist Griffiths details the most challenging period of her life, during which her best friend died and her husband, the author Salman Rushdie, was brutally attacked. Read more.
Crux by Gabriel Tallent (Riverhead)
This tense and staggering tale of rock climbing and family demons from Tallent explores the cost of following one’s dreams. Read more.
Beckomberga by Sara Stridsberg, tr. Deborah Bragan-Turner (FSG)
Stridsberg’s singular novel traces the history of Stockholm’s Beckomberga psychiatric asylum via wrenching stories of its patients. Read more.
How to Commit a Post-Colonial Murder by Nina McConigley (Pantheon)
McConigley follows her PEN/Open Book Award–winning collection, Cowboys and East Indians, with a witty and ultimately profound tale centered on two angsty preteens’ plot to kill their abusive uncle. Read more.
Just Watch Me by Lior Torenberg (Avid Reader)
Torenberg debuts with a bewitching tragicomedy about a young woman who takes drastic actions to raise money for her sister’s medical bills. Read more.
A Very Cold Winter by Fausta Cialente, tr. Julia Nelsen (Transit)
In this overdue translation of Cialente’s vital 1966 novel, her first to be published in English, a family struggles to find harmony while crammed together in a frigid Milan squat. Read more.
Station of the Birds by Betsy Sussler (Spuyten Duyvil)
In the author's latest, a son disinherited by his father while attending college returns to his hometown with an eye toward vengeance.
Vigil by George Saunders (Random House)
A ghost attempts to guide an unrepentant oil executive toward redemption and the afterlife in the staggering latest from Saunders. Read more.
A Hymn to Life by Gisèle Pelicot, tr. Natasha Lehrer and Ruth Diver (Penguin)
Pelicot, who first rose to prominence after waiving her right to anonymity in the court case against her husband and 50 men accused of sexually assaulting her, tells her story for the first time in this harrowing, galvanizing memoir.
Black Dahlia by William J. Mann (S&S)
Novelist and biographer Mann delivers a meticulous and humane reconsideration of one of America’s most sensationalized unsolved murders. Read more.
Rooting Interest by Cat Disabato (831 Stories)
In this sapphic sports romance from Disabato, NFL reporter Jennifer Felix is reassigned to cover WNBA All-Star Weekend, despite knowing nothing about basketball. Read more.
February
Lee and Elaine by Ann Rower (Semiotext(e))
In this second novel by Rower, the artistic and social excesses of the New York School painters—Jackson Pollock, Lee Krasner, Willem de Kooning and Elaine de Kooning—provide a welcome obsession for a painter in a midlife crisis. Read more.
The End of Romance by Lily Meyer (Viking)
Critic and translator Meyer’s sharp and sexy sophomore novel chronicles a young woman’s liberation from an abusive marriage. Read more.
Language as Liberation by Toni Morrison (Knopf)
In this series of lectures from the Nobel laureate’s tenure as a professor at Princeton, Morrison examines Black characters throughout American literature and their impact on our national imagination.
Superfan by Jenny Tinghui Zhang (Flatiron)
Zhang explores the line between fandom and idol worship in her sharp sophomore outing. Read more.
The People Can Fly by Joshua Bennett (Little, Brown)
Bennett charts the complex role of Black prodigies and gifted children in American history, including by tracking the early educations of luminaries ranging from Malcolm X to Stevie Wonder.
Second Skin by Anastasiia Fedorova (Catapult)
Toggling between memoir, reportage, social history, cultural criticism, and erotic writing, Fedorova maps the worlds of sexual fetishism and kink, considering the the forces that shape desire, and how desire shapes us.
Autobiography of Cotton by Cristina Rivera Garza, tr. Christina MacSweeney (Graywolf)
Memoirist and novelist Rivera Garza weaves labor history, environmental catastrophe, and stories of her family into a vivid tapestry. Read more.
A Killing in Cannabis by Scott Eden (Spiegel & Grau)
Investigative journalist Eden shines in this novelistic work of true crime, which opens in 2019, when deputies responded to a 911 call reporting a kidnapping in Santa Cruz, Calif., at the home of tech CEO Tushar Atre, who’d recently launched a cannabis company. Read more.
Heap Earth Upon It by Chloe Michelle Howarth (Melville House)
Howarth captures the rhythms and underlying tensions of an Irish village through the eyes of multiple characters in her alluring sophomore outing. Read more.
Ladies Almanack by Djuna Barnes (Dalkey Archive)
Barnes's trailblazing work of lesbian literature—part social satire, part Restoration pastiche, part love letter to Paris—returns nearly a century after its 1928 publication courtesy of Dalkey Archive.
The Wall Dancers by Yi-Ling Liu (Knopf)
This incisive, empathetic debut study from journalist Liu examines three decades of the internet’s evolution in China, from the mid-1990s explosion of microblogs and message boards that corresponded with the country’s increasing liberalization, to the mid-aughts raising of the Great Firewall. Read more.
Alice Baber: An Artist’s Triumph Over Tragedy by Gail Levin (Pegasus)
Levin’s biography questions why Baber—whose abstract paintings had entered into the collections of the Met, Whitney, Guggenheim, and MoMA by the time she died at 54—ultimately fell into obscurity, while also restoring the artist to her rightful place in modernist history.Scatman John by Gina Waggot (Bloomsbury Academic)
Music journalist Waggott debuts with an affectionate biography of John Larkin (1942–1999), better known as Scatman John, who rose to fame in the mid-1990s with a blend of jazz, pop, and scat-singing. Read more.
The Jills by Karen Parkman (Ballantine)
Parkman debuts with a thrilling mystery that offers an immersive view into the lives of NFL cheerleaders. Read more.
Frog by Anne Fadiman (FSG)
Essayist and reporter Fadiman reflects on her life and the ever-changing world around her in this affecting and often humorous collection. Read more.
I Hope You Find What You're Looking For by Bsrat Mezghebe (Liveright)
The nuanced debut from Mezghebe finds an Eritrean American teen seeking answers about her late father’s life as a revolutionary martyr. Read more.
This is Not About Us by Allegra Goodman (Dial)
Goodman delivers a bighearted linked story collection about a family’s travails. Read more.
One Bad Mother by Ej Dickson (Simon Element)
New York magazine writer Dickson debuts with a smart and funny exploration of what it means to be a “bad mom.” Read more.On Morrison by Namwali Serpell (Hogarth)
Serpell, a novelist and professor of English at Harvard, provides an insightful and stimulating exploration of the work of Nobel Prize winner Toni Morrison. Read more.
Queen by Birgitta Trotzig, tr. Saskia Vogel
The first in a trio of works by the legendary Swedish writer set to be translated by Vogel, this 1964 novella follows a girl named Judit and her enigmatic inner life.
Lean Cat, Savage Cat by Lauren J. Joseph (Catapult)
An artist’s bohemian existence in Berlin implodes in this exquisite novel from Joseph. Read more.
Evil Genius by Claire Oshetsky (Ecco)
Oshetsky’s potent latest dives into the volatile inner world of a young woman who fantasizes about a life beyond her abusive marriage. Read more.
Head of Household by Oliver Munday (S&S)
Munday's debut story collection mines the complexity, anxieties, and daily rituals of contemporary fatherhood.
The Writer's Room by Katie da Cunha Lewin (Princeton UP)
Literature lecturer Lewin debuts with an insightful exploration of the spaces where famous writers crafted their most influential works. Read more.
Citizenship by Daisy Hernández (Hogarth)
Hernández presents a comprehensive and timely inquiry into American citizenship, weaving together memoir, history, and cultural criticism.
Beloved Son Felix by Felix Platter, tr. Seán Jennett (McNally Editions)
In 1552, a 16-year-old Felix Platter left Switzerland to study medicine in France, documenting his daily life in a diary—and now, contemporary readers can enjoy one of the world’s earliest journals, which chronicles everything from a brush with the bubonic plague to a John Calvin speech.
A Place Both Wonderful and Strange by Scott Meslow (Running Press)
The short-lived 1990 TV series Twin Peaks cast a long cultural shadow, according to this energetic account from film critic Meslow. His diligent account of the show’s cultural legacy [is interwoven] with delightful peeks into its idiosyncratic production and the eccentric directorial style of David Lynch. Read more.
Daughter of Mother-of-Pearl by Mandy-Suzanne Wong (Graywolf)
This mesmerizing collection from novelist and essayist Wong uses observations of small invertebrates to tackle questions about selfhood, consciousness, and humans’ relationship with nature. Read more.
Everything Lost Returns by Sarah Domet (Flatiron)
In Domet’s latest page-turner, two women are united across time by the arrival of Halley’s comet.
Every Moment Is a Life, ed. susan abulhawa (One Signal)
This Arabic-English bilingual anthology compiles essays by 18 young Palestinian writers whose writing grapples with the ongoing genocide in their homeland.
The Disappearing Act by Maria Stepanova, tr. Sasha Dugdale (New Directions)
In this captivating and capacious novel from Stepanova, a 50-year-old novelist experiences a bizarre and liberating metamorphosis while in exile from her unnamed home country, which has just started a devastating war with its neighbor. Read more.
I Give You My Silence by Mario Vargas Llosa, tr. Adrian Nathan West (FSG)
Nobel laureate Llosa, who died last year, tackles Peruvian history and culture in this searching novel, published in Spanish in 2023, about the limits of idealism. Read more.
I Am the Ghost Here by Kim Samek (Dial)
Samek debuts with a striking collection of fantastical and speculative stories about conformity, technology, and the limits of bodily autonomy. Read more.
Doing Nothing by James Currie (Duke UP)
In his contribution to Duke University Press's Practices series, Currie delves into modes of being such as procrastination, resignation, and melancholia—and the unexpected opportunities these states can present.
Technology and Barbarism by Michel Nieva, tr. Rahul Bery and Daniel Hahn (Astra House)
From the author of Dengue Boy comes a probing nonfiction collection which investigates the influence of "hard" science fiction and how the genre informs our complicated relationship with technology.
The Silent Period by Francesca Manfredi, tr. by Ekin Oklap (Norton)
The elegant and witty latest from Manfredi sees an unfulfilled young woman commit to silence. Read more.
Brawler by Lauren Groff (Riverhead)
Story Prize winner Groff delivers a gorgeous collection about families transformed by desperate circumstances. Read more.
More Than Enough by Anna Quindlen (Random House)
DNA test results rattle a middle-aged New Yorker in the poignant latest from Quindlen. Read more.
Starry and Restless by Julia Cooke (FSG)
In this expansive group biography, journalist Cooke profiles three prolific mid-century female journalists and examines the impact their reporting had on both their times and their profession. Read more.
March
Dream Facades by Jack Balderrama Morley (Astra House)
Morley explores what the dwellings depicted on reality TV reveal about Americans’ deep-seated desires for safety and security.
Now I Surrender by Álvaro Enrigue, tr. Natasha Wimmer (Riverhead)
In his latest work of alternate history, Mexican novelist Enrigue delivers his most ambitious book to date—a multilayered epic of the Apache Wars. Read more.
Judy Blume: A Life by Mark Oppenheimer (Putnam)
Journalist Oppenheimer contends in this impressive biography that Judy Blume “rewired the English-speaking world’s expectations of what literature for young people could be.” Read more.
Elizabeth Cady Stanton: A Revolutionary Life by Ellen Carol DuBois (Basic)
As a historian of woman’s suffrage, DuBois paints a definitive portrait of one of the most influential leaders in the fight for American women’s right to vote.
The Complex by Karan Mahajan (Viking)
In Mahajan’s immersive third novel, a family tragedy unfolds against the backdrop of political upheaval in India. Read more.
Will This Make You Happy by Tanya Bush (Chronicle)
This hybrid memoir and cookbook from the cofounder of Cake Zine pairs more than 50 recipes with a chronicle of the year she rediscovered her joy of baking.
Seeking Sexual Freedom by Nana Darkoa Sekyiamah (S&S)
Sekyiamah profiles traditional sex practices across Africa—particularly older women and gurus who guide girls through puberty and early marital life—and argues that such open, liberated sex lives are hampered by Western norms.
A Marsh Island by Sarah Orne Jewett (S&T Classics)
Originally published in 1885, this reissue of Jewett’s idyllic classic chronicles life in a small New England coastal community through the eyes of a Manhattanite landscape painter.
Freezing Point by Anders Bodelsen (Faber)
In this sly and visionary 1969 novel from Bodelsen, reissued with a new introduction by Sophie Mackintosh, a 30-something magazine editor agrees to be cryogenically frozen until a cure is found for his terminal cancer. Read more.
Kids, Wait Till You Hear This! by Liza Minnelli (Grand Central)
The EGOT icon tells the story of her life in her debut memoir, from her four marriages to her lifelong struggle with substance use to her experience growing up as the only child of two Hollywood legends.
Voices by Frederic Prokosch (NYRB Classics)
American fantasist Prokosch's mostly made-up memoir of his childhood in Middle America and later years in the South of France, first published in 1982, returns thanks to a reissue by NYRB.
Down Time by Andrew Martin (FSG)
In Martin’s well-observed but listless third outing, a group of loosely connected 30-somethings float through the Covid-19 era, coping with cheating partners, enduring lockdown, and questioning their professional, romantic, and creative choices. Read more.
Whidbey by T Kira Madden (Mariner)
The propulsive debut novel from Madden, author of the memoir Long Live the Tribe of Fatherless Girls, explores the aftermath of child sexual abuse. Read more.
I Was Alive Here Once, ed. Sarah Coolidge (Two Lines)
This anthology, the latest installment in Two Lines' Calico series, anthology gathers ghost stories from Korea, Yemen, Poland, Japan, Uzbekistan, Iceland, Tanzania, and Thailand.
On an Inland Sea, ed. Michael Welch (Belt)
Thirty-three writers meditate on the experience of living on the Great Lakes in this anthology from Cleveland-based Belt Publishing, which promotes voices from the Rust Belt.
The Natural Way of Things by Charlotte Wood (Riverhead)
Reissued on the occasion of its tenth anniversary, this novel is allegory at its best, a phantasmagoric portrait of modern culture's sexual politics textured by psychological realism and sparing lyricism. Read more.
Partially Devoured by Daniel Kraus (Counterpoint)
Novelist Kraus offers an entertaining deep dive into George A. Romero’s classic horror film, which inspired a lifelong passion for horror, low-budget filmmaking, and Romero’s movies. Read more.
Hooked by Asako Yuzuki, tr. by Polly Barton (Ecco)
In her follow-up to Butter, Yuzuki returns with an unnerving portrait of female obsession and friendship, in which a woman develops an all-consuming fascination with a popular lifestyle blogger.
Chains of Ideas by Ibram X. Kendi (One World)
The National Book Award winner tackles the “great replacement theory,” and how it came to find its way into contemporary politics, in his latest.
My Lover the Rabbi by Wayne Koestenbaum (FSG)
Polymath Koestenbaum charts the psychosexual relationship between the narrator and his rabbi, as the two men torture, pleasure, and exploit one another.
Sisters in Yellow by Mieko Kawakami, tr. Laurel Taylor and Hitomi Yoshio (Knopf)
Kawakami unfurls a remarkable noir-tinged tale of female desperation set during the early days of the Covid-19 pandemic. Read more.
Who Killed Bambi? by Monika Fagerholm, tr. Bradley Harmon (University of Wisconsin Press)
Set in a fictional, affluent suburb of Helsinki, this nonlinear novel follows a successful realtor haunted by his role as one of four teenage rapists involved in a devastating sexual assault.
The Oldest Bitch Alive by Morgan Day (Astra House)
Day explores the nature of parasitic and symbiotic relationships in her wondrous debut, which largely follows the deterioration of a couple’s beloved French bulldog, Gelsomina. Read more.
Sydney Journals by Antigone Kefala (Transit)
This cosmopolitan collection of journal entries from the late Australian poet Antigone Kefala, who died in 2022, contains moving reflections on the tension between modern life and the life of the mind. Read more.
Python's Kiss by Louise Erdrich (Harper)
Pulitzer winner Erdrich dives deep into the American psyche in this spectacular collection. Read more.
Ruins, Child by Giada Scodellaro (New Directions)
Scodallero’s mesmerizing and challenging debut novel focuses on a film screening in a near-future intentional community of women. Read more.
The Life You Want by Adam Phillips (FSG)
In a series of interlinked essays, Phillips uses psychoanalytic and literary approaches to unveil the difficulties of fashioning—and enjoying—our lives.
American Han by Lisa Lee (Algonquin)
Lee’s debut follows a brother and sister as they confront how they once embodied—and ultimately departed from—the American myth of the “model minority.”
The News from Dublin by Colm Tóibín (Scribner)
The Irish writer’s latest story collection includes nine works of short fiction—many never-before-published—set across Ireland, Spain, and America.
A Good Person by Kirsten King (Putnam)
Screenwriter King debuts with the clever tale of a vengeful woman whose ex-boyfriend winds up dead after she casts a spell on him. Read more.
Son of Nobody by Yann Martel (Norton)
In the inspired latest from Booker winner Martel, a literature scholar discovers an alternate account of the Trojan War. Read more.
The Monroe Girls by Antoine Volodine, tr. Alyson Waters (Archipelago)
The fascinating and sardonic latest from Volodine plays out in the mind of a schizophrenic who lives in a postapocalyptic psychiatric hospital among the living and the dead. Read more.
A Year in Reading: 2025
The Millions has been on hiatus for the last year, so we've had to scale back our editorial output to just our seasonal Most Anticipated lists. But we couldn't let 2025 go by without bringing out our annual Year in Reading series, where we check in with some of the most interesting writers and thinkers working today about their noteworthy reads of the last 12 months.
This year, the series is taking a more condensed form—we asked contributors for shorter reflections, and are publishing them all simultaneously—but we hope it will nevertheless help you discover your next great book. I, for one, am newly determined to finally read some Muriel Spark—thanks, Sebastian Castillo.
—Sophia Stewart, editor
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Caleb Gayle
author, Black Moses
It’s usually impossible to find time to read much during a book launch. But when a book like Shattered Dreams, Infinite Hope: A Tragic Vision of the Civil Rights Movement by Brandon Terry landed on my doorstop, I knew that I would need to make the time. In it, Terry upends our too-often romantic, or at other times, deeply ironic memories of the Civil Rights Movement. It isn’t the kind of book that one breezes through—I know I didn’t! But it is the kind of book that lingered with me, haunted how I revisit the past, and forced me to reconsider how that past informs the present. When I wasn’t reconsidering the past, I just had a blast reading Katie Yee’s Maggie; Or, a Man and a Woman Walk Into a Bar. What a fun and funny ride.
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James Webster
marketing director, Deep Vellum and Dalkey Archive Press
I’ll be honest, this was an unusually contemporary year for me! Normally I read pretty widely, time-wise, but there were a handful of remarkably self-assured debut novels that couldn’t be ignored. First, I adored Stephanie Wambugu’s deliberately-old-fashioned Lonely Crowds, and have recommended it to so many people that they could populate an upstate college town like the one that features so heavily in the novel. I loved the flame-throwing Bad Nature by Ariel Courage, which is so furious in its voice, so cutting with its humor, that it’s almost intoxicating—like the buzzy lightheaded feeling you get from giving blood. And rounding out the trilogy was Cora Lewis’s Information Age, which is one of those fragmentary novels that we’ve all seen countless times, but incredibly, Lewis sacrifices nothing in the negative space.
Elsewhere, Francesca Wade’s Gertrude Stein: An Afterlife is an exemplary biography, looking at both an artist, and the creation of that artist’s legacy—itself a sort of art form. I spent several months reading nothing but Italian women (Ginzburg, de Céspedes, Morante, Terranova, Raimo, Mazzetti), and I also enjoyed playing director while reading Karl Krauss’s delirious and impossible-to-stage Modernist play, The Last Days of Mankind.
Finally, as the father of a two-year-old, I read the same 10 children’s books approximately one thousand times, each. Don’t miss Curious George Takes a Job, which contains a disquieting scene at the hospital, where George finds a bottle of ether and inhales the anesthetic until “everything went dark.”
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Henry Hoke
author, Open Throat
I became a parent at the start of 2025, and although I was hanging out with my kid on the opposite coast, my heart and my reading choices were with my long-time home of Los Angeles. In an unimaginable and devastating year for the city, I was grateful to experience new work by some of my favorite LA artists. First, Season of the Rat by Elizabeth Hall, published by the freshly launched Cash 4 Gold Books. It’s a cutting marvel of hybrid prose that explores forgotten queer landmarks, sexual assault, recovery, burgeoning romance, and, of course, a rat on the roof. Then, the arrival of Sitting Vol. 2: Plein Air by Stacy Elaine Dacheux, the second in her series of illustrated chapbook memoirs. I adore the singular wit and succinct beauty of Stacy’s writing and art. This remarkable volume—much of it covering the direct aftermath of the fires, in which many of my friends lost their homes and businesses—becomes a meditation on resilience, how we shape ourselves by moving through. Lastly, Ottodokki by Patrick Michael Ballard, from art press Sming Sming, which is a pack of 24 randomized collectible cards by a visionary of material and myth. The cards’ uses are undefined, up to you. I had to buy one pack to keep sealed and one to crack open. My baby divined seven cards from the deck and we built a bedtime story with his choices.
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Grace Byron
author, Herculine
I spent a lot of the year finally reading Thomas Pynchon and Barbara Ehrenreich, a pair that perhaps never seemed so omnipotent in their prophetic powers as they do now. I was delighted to find the former reference in the latter in Bait and Switch, her chronicle of white collar unemployment, a spiritual sequel of sorts to Nickel and Dimed. I also tuned into Philip Roth for the first time; I found The Counterlife a fascinating experiment in fiction and adored Portnoy’s Complaint. I read less contemporary fiction than usual but I adored Information Age by Cora Lewis, Will There Ever Be Another You by Patricia Lockwood, and Hothouse Bloom by Austyn Wohlers. And, since this is a list, Things In Nature Merely Grow by Yiyun Li is a moving archive of grief, a list that unspools great beauty and gripping love.
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Peter Mendelsund
author, Weepers and Exhibitionist
I stopped reading about four years ago (it’s a long story). But I’m recently back in the game.
I still don’t read contemporary literary fiction, which is especially ungenerous of me having just thrown my new novel onto the toppling pile. What I do read is philosophy, poetry, fanfiction, sci fi, and fantasy (I’ve dipped my beak into romantasy this year as well). Which is to say that this list will be a mixed bag. Though as John Ashbery says, “good things sometimes come in mixed bags.”
Speaking of Ashbery, this year I read his 1989 Norton Lectures: Other Traditions. I’d read very little poetry outside of those works anthologized in my high school and college textbooks, so decided I should educate myself. Ashbery is, in many ways, a surprising guide here, as his own poetry is daunting and hermetic. (Once, after he spoke to Richard Howard’s class at Columbia, Howard told him the students “wanted the key to your poetry, but you presented them with a new set of locks.”) Yet Ashbery’s lectures have helped me quite a bit—specifically due to his reluctance and self-professed inability to explain anything. I am trying to follow his example, relinquishing my compulsive need to have a poem reveal itself completely. I sit with a poem now, let it wash over me, hear its music, and take from it what I will. Ashbery discusses six “lesser-known” poets in the book, including David Schubert, whose work I now find myself reading obsessively.
The Horus Heresy is a set of sixty-four fanfiction novels based on—and contributing to—the lore surrounding a tabletop miniatures game called Warhammer. My YouTube algorithm decided I’d like to watch videos of men meticulously painting miniature models of blood-spattered space warriors and tentacular aliens. Wanting to learn more about these characters and the world they inhabit I dove headfirst into the history of a war-torn 31st millennium.
This has been my year of considering “the object.” I’ve been reading anything I can get my hands on that contends with the ontology and phenomenology of stuff. A sampling would include, of course, Plato, Kant, Wittgenstein, etc., but most recently I’ve read Heidegger’s wonderful (though at times inscrutable) “The Thing.” Also, I reread the excellent Alien Phenomenology by Ian Bogost as well as A Philosophy of Sport by Steven Connor, which includes a wonderful chapter on sports equipment and the philosophical implications of human/object interaction.
A piano is an object, but also quite a bit more than an object. I read Sophy Roberts’s beautiful, elegiac book The Lost Pianos of Siberia, as well as the late pianist and polymath Alfred Brendel’s Music, Sense and Nonsense.
I read eight novels by Terry Prachett this year. I recommend The City Watch series, which follows a motley police force in the fantastical city of Ankh-Morpork as they contend with dragons, golems, assassins, and interspecies warfare. Pratchett also takes on larger questions around what a city is, and how it can, against all odds, function. These books are smart and wickedly funny.
I also read Cyrill Connolly’s The Unquiet Grave, a book at once ingenious and utterly terrible. There are passages that fit neatly within a genre I love: the author discussing ideal conditions under which he will—but ultimately can’t—write his future masterpiece. See under Barthes’s last lectures Preparation for the Novel. Which I also re-read. Anyway, the degree of bellyaching and bathos alongside the extreme erudition in Connolly’s book is delightful.
* * *
Eliana Ramage
author, To the Moon and Back
I’ll Tell You When I’m Home by Palestinian American poet and writer Hala Alyan exists in the urgent space before the birth of a child, as Alyan waits in a separate country from her surrogate Dee. With breathtaking precision, Alyan gathers and considers her daughter’s inheritance. She maps a family legacy of displacement—from Palestine, Kuwait, Syria, and Lebanon. She weaves in her own coming-of-age—in Kuwait, Beirut, Abu Dhabi, Dallas, and Oklahoma City—and stories of addiction, sobriety, pregnancy, and loss. Meanwhile, her daughter is the size of a grain of rice, and then a raspberry. Alyan’s writing is lyrical and surprising, open-hearted and unwavering. A tender and honest exploration of peoplehood, personhood, endings, and beginnings.
* * *
Erin Somers
author, The Ten Year Affair
I published a book this year which makes a person—how to put this?—go completely insane. Maybe not everyone. Does someone out there not go insane? Reach out via email. I personally go buck wild. I got excessively fit this year? Like ripped? I wrote 60,000 words of a new book? I could hear how I sounded describing to people that this was only a third of the planned word count. I sleepwalked every night for five months. I am still sleepwalking every night. My nightmares are of being publicly disgraced in some way, or that I’ve forgotten about a podcast interview. Imagine dreaming of podcast interviews! A new hell for the twenty-first century.
You can get to wondering why you write for a living, if you are so ill-cut-out for it. If it fills you with horrible anxiety. If it chases you. If it sucks up all your time. If it takes you further away from the thing you liked doing in the first place, which was just reading. Why didn’t I go and make a job out of the thing I liked best?
In this frame of mind, I read Howards End by E.M. Forster. Every year I try to fill some holes, read some classics I missed. I have been doing this long enough that I should know that whatever my notions are about a classic are likely wrong. But no, I never learn. Every time I’m like, what is this turgid artifact? From what dusty tomb was it unearthed?
Howards End looks so, so dusty. It’s like they tried to make it look as dusty as possible. They should refresh the design. They must. But then when you crack it, it is funny and alive, a class novel inspired by the lives of Virginia Woolf and Vanessa Bell concerning the fate of a country house.
The refrain of Howards End is “only connect,” and it’s possible that this is corny, maybe the corniest part of the book, which is mostly a closely observed and perceptive novel about how different tiers of rich people interact in Edwardian England. The old rich hate the nouveau riche and vice versa. The old rich pity the poor, while the new rich loathe the poor, and so on. It is also about a set of sisters going around being charming and slightly eccentric.
“Only connect” is Forster’s entreaty to connect the rational part of your brain with what might be called the heart. In my ragged, somnambulant, pointlessly shredded state I interpreted this as an argument in favor of art. If you go looking for the reason you do something, or a reason to keep doing whatever you’re doing, you’ll see it everywhere. You’ll hear it in a pop song or see it in a painting or in your kid’s face or in the pattern of a leaf.
Do I write to connect? I hope so? Probably not though. If I’m being honest it’s just that I’m compelled to do it. It’s that stupid and that inescapable. I just feel like doing it. In spite of everything, the part that is good—purely and without complications—is sitting down and writing. If there were moments of gratification this year they were in one of two places: in hanging out and doing nothing and on the page. These are my two vocations. Nothing and typing on my laptop. But it’s nice, isn’t it, only connect? It gives a sort of nobility to the whole endeavor. Maybe I could be worthy of it one day.
* * *
Natan Last
author, Across the Universe
The year your first book comes out must always involve shameful rereading, pawing at the greats to avoid peering unconvinced at the competition, reviving the adolescent fantasies of reading made feeble and death-aware by the reality of publishing.
I began the year with my third encounter of Nabokov’s Pnin, that sepia shambolic schlub double-fisting his laminated antiques, pride at newly-acquired U.S. citizenship and a full-time post at a college. I hacked my way through inauguration, its days pointy and gray and tragicomic like the pigeon-proofing spikes at a baseball stadium, with the cutlass imagery of Martín Espada’s Imagine the Angels of Bread (lightning jabbed the building / … scattering bricks from the roof / like beads from a broken necklace).
John Berger’s About Looking was the perfect companion on a couple of cold-month jaunts to tropicality, first to Turks & Caicos for a residency (where the chapter on suits bent my eye from sea to sequin) and then to Colombia for a wedding (where everything from hummingbird sanctuaries to seating charts parroted the section on zoos).
More recently, Stephanie Wambugu’s Lonely Crowds emerged as the best new novel I’d read this year; each chapter ends, like a Tobias Wolff short story, with an eerie, inevitable spine-tingle, simultaneously slowed-down and propulsive. I work (to the extent the field still exists) in humanitarian immigration and keep up with the fictions and analyses its horrors generate; I really liked Vincent Delecroix’s non-judgmental experiment in Small Boat and Stephanie DeGooyer’s legal-literary history, Before Borders.
Finally, Ellen Bryant Voigt, a poet I’m always imitating, passed this year, and I spent Thanksgiving re-experiencing the tractor engine of her synactic wizardy in Headwaters (it matters / what we’re called words shape the thought don’t say / rodent and ruin everything).
* * *
Sebastian Castillo
author, Fresh, Green Life
This was a great year for reading (they are all great years) and some favorites include Denton Welch’s In Youth Is Pleasure (delectable), Dag Solstad’s Novel 11, Book 18 (protean, confounding! a compliment), Peter Weiss’s The Aesthetics of Resistance (prismatic and devastating), as well as Ron Padgett’s incredibly sweet Joe: A Memoir of Joe Brainard (it made me cry).
But if I had to pick two books I think will stay with me for a while—and this is perhaps due to some recency bias—they are A Far Cry from Kensington and Loitering with Intent, both by Muriel Spark, which I read back to back. I’ve long been a great admirer of her work but I’ve never read novels so perfect as these two, with voices so utterly sui generis, with such an addictive tonal buoyancy that I now pace about my apartment and sulk, look out the window with a little vapor in my mien, because I am not reading Muriel Spark, when I should be. In fact, I am starting a new one today.
And sorry, last one: I just finished Iris Murdoch’s The Bell last night, but so far my astonishment toward this work of art is too great to replace the experience meaningfully with words. And like Lyn Hejinian, I love to be astonished!
* * *
Hala Alyan
author, I’ll Tell You When I’m Home
I wasn't ready for Tiana Clark’s Scorched Earth in the best kind of way. It’s rare for a read to be both raucous and poignant, but this collection manages exactly that. Her explorations of Black womanhood are incisive and heart-lifting at turns, continuously testing what else language can hold. I'm sure many have characterized her tone as “unapologetic,” but that’s not quite right. Clark transcends apology. She’s willing to be ashamed, to be wrong, to be afraid. She’s willing to sit with history—and her own heart—a beat longer than is comfortable, which means the reader has to be as well. That sort of co-curated courage is what I love most in poetry, and Clark excels at it.
“The truth is: I lied,” she writes in the titular poem. “Did I have to be there for it to still hurt me?” The answer, of course, is no. Life marks us sometimes most in the act of witnessing. But more than the wound, Clark is interested in what grows around it. She writes joy with the same precision she brings to heartache—joy in femmeness, joy in Blackness, joy in restarting, in not getting what we want, and in getting it. The collection becomes a testimony to desire, to its unruly persistence, to the impossibility of a blank slate—and thank God for that.
* * *
Deesha Philyaw
author, The Secret Lives of Church Ladies
Denne Michele Norris’s When the Harvest Comes resonated with so many facets of who I am. There’s the lover-girl in me who can’t resist a sweet-but-complicated-but-genuine love story like the one Norris’s main character Davis and his husband Everett share. There’s the grieving daughter who has learned, as Davis learns, that there are unexpected and upending layers to that grief when the parent you lost hurt you when they were alive. And finally, there’s the reader-writer in me who hungers for a beautiful, breathtaking page-turner with emotional heft and narrative surprises. Norris’s debut is a powerful reminder of all the different kinds of love we’ll experience, if we’re lucky, and how those ever-evolving loves can both collide with and be shaped by important questions of legacy and identity.
* * *
Ethan Rutherford
author, North Sun
This has been a strange year—my father died, we moved, my book came out—and I’ve felt more adrift in my reading life than at any other point I can remember. I pick things up and put them down; favorite authors no longer do the trick. I feel like I’ve lost the ability to steer myself true. Luckily, I am blessed with friends who have impeccable taste, and who are incredibly thoughtful, and who, when I look back at what I read this year on their recommendations, seem also to be watching out for me, and to them I am grateful.
Tongues by Anders Nilsen is my favorite book of the year and the one book I would press on anyone—it is beautifully drawn, beautifully told, complicated and strange, somehow feels even larger than it is. It’s perfect.
I owe my favorite (or, most meaningful) reading experience of the year to my friend Jill, who, after my dad died, found a beautiful copy of Virgil’s Aeneid: Book VI, trans. by Seamus Heaney, and gave it to me. This small chapter of the story concerns the moment Aeneas travels to the underworld and meets the spirit of his own father. I thought I had processed things, but of course I hadn’t. I read this on an airplane, slowly, and quietly cried while everyone else slept, and I felt lucky to hold that book in my hands.
The titles that follow are others I’ve read and loved this year (actually, this fall; spring was a mess), and are, in fact, some the only books now with me in our new apartment, far from home. I’ve come to think of them as cherished traveling companions, though they’re all new to me. I took a picture for accuracy. Can’t go wrong with any of these:
Ultramarine by Mariette Navarro; Orbital by Samantha Harvey; Kairos by Jenny Erpenbeck; Nocturnes by Kazuo Ishiguro; Miss Lonelyhearts & The Day of the Locust by Nathanael West; Refusing Heaven by Jack Gilbert; O’Clock: Sixteen Stories by Quim Monzo; The Infatuations by Javier Marías; Palaver by Bryan Washington; The Week of Colors by Elena Garro; The Battle for Spain by Antony Beevor; Los Cuarto Fantasticos: Mister Fantastico (I’m trying to learn Spanish); The Salt Stones by Helen Whybrow; State Champ by Hilary Plum; Magic Can’t Save Us by Josh Denslow; Look Out by Edward McPherson; States by Ciaran Berry; and The Understory by Saneh Sangsuk.
And finally, I am currently reading The Sisters by Jonas Hassen Khemiri, and I never want it to end.
* * *
Angela Flournoy
author, The Wilderness
At this point I might be becoming a broken record, but I really loved The Devil Three Times by Rickey Fayne, which is a debut novel that feels assured, and announces Fayne as a writer with a true storytelling gift. It’s an inter-generational saga that follows one family over more than a century—from West Africa to enslavement-era Tennessee to present day Tennessee. Alongside many memorable members of this family, we spend time with the devil himself, who functions as a kind of humorous, trickster guardian fallen angel for them. It is inventive, funny, and a book I still think about.
* * *
Emma Goldberg
reporter, the New York Times
There is something about New York that makes grit and shmaltz feel like two sides of one coin—the rat dragging its pizza on the A-train platform, the stranger holding open a subway door. The density of this place makes miracles feel more readily apparent, in the little kindnesses of people packed together like sardines and in the vastness of steel, iron, brick, and concrete. This year, I read three books about the history of New York, really about the underbelly of its miracles and about the people whose obstinance made the city as it is today, this ridiculous, jaw dropping grid of egos, lights and midnight sandwiches. One was The Power Broker by Robert Caro; the next was Gods of New York by Jonathan Mahler; the third was New York, New York, New York, New York by Thomas Dyja.
Taken together, the books explain how the city climbed from a fiscal hole to soaring wealth, how the chasm grew between the martini-drinking, Page Six names of billionaires’ row and the packed homes of NYCHA. These books course with the ambition that built oceanside boardwalks, but also with greed and plenty of petty point-scoring. In each one, the mythic men of New York turn into flesh and bones, men whose wives bought their socks: There was Robert Moses staging a fist fight with an “exceedingly drunk” city administrator, Alfred E. Smith unlocking the gates of the Central Park zoo at night to commune with the tigers, Ed Koch finally moving out of Gracie Mansion and into his nemesis Larry Kramer’s Greenwich Village apartment building. New York has a way of turning its bosses into demigods, but the authors turn those demigods back into men, characters whose grit and patriotic city schmaltz built New York and also left so many behind.
* * *
T Kira Madden
author, Whidbey
Because I’m currently working on a story about senior superlatives, maybe I’ll try to slot some of my other favorite reads by this way of categorization; Seduction Theory by Emily Adrian made me laugh the hardest. Reading the Waves by Lidia Yuknavitch made me cry the hardest. The book that asked me to slow down in large and small ways was Richard Powers’s The Overstory, and the book that asked me to devour it all at once was Quiara Alegría Hudes’s The White Hot. The most astonishing sentences I read were in Che Yeun’s forthcoming Tailbone, and the horniest, queerest book which has lodged itself in my brain is Melissa Faliveno’s forthcoming Hemlock. Stop Me if You’ve Heard this One by Kristen Arnett made me most homesick for Florida, and Mariah Rigg’s Extinction Capital of the World made me most homesick for Hawai’i. Sophie Lefens’s forthcoming Her Kind felt the most like hanging out with friends when I didn’t have friends to hang out with, and I learned a new term in 2025, “competency porn,” which calls to mind Michael Jerome Plunkett’s mesmerizing, obsessively detailed Zone Rouge. Most times I’ve said “so and so needs to read this book” in a gossipy way: Melissa Febos’s The Dry Season (IMO her best); most times I’ve said “so and so needs to read this book” in a you’re-not-alone way: Trying by Chloé Caldwell. The most beautifully written and composed cookbooks I read were Samin Nosrat’s Good Things (how many cookbooks quote June Jordan?) and Hetty McKinnon’s Linger.
* * *
Canisia Lubrin
author, Code Noir and The World After Rain
I read some great books this year. Among them The Book of Records, You Will Not Kill Our Imagination, We, The Kindling, The River Has Roots and Under the Eye of the Big Bird. A year in reading can mean uncovering the nearly surreal layers of recent days and a book’s intersecting with the world in real-time.
This year, it was Olive Senior’s Hurricane Watch, a poetry volume collecting one “New and Uncollected Poems” with four previously published books. Having read it in 2022, my rereading of it felt talismanic. If you’re a reader like me, you appreciate the long arc that is the life of a book in the world and how it might defy the logic of its pub season because it accompanies you through many years. As I read Hurricane Watch super typhoons swelled to terrifying girths in the East and a category five storm called Hurricane Melissa—queue memories of Katrina and Sandy—tore down the Atlantic basin with Jamaica, the poet’s island in its path, eye and all. All at once with Jamaica, Haiti, Dominican Republic and Cuba were also hit with scale-tipping winds, carnage and heartache for those on and off island. The poems in Hurricane Watch—prescient and tightly constructed—manage playfulness without being performative. Their second-order wisdoms that should by now have swayed the human hand away from the risks of treating human life as preordained resound in Senior’s poetic world of interconnected life.
* * *
Oliver Munday
author, Head of Household
This is no exaggeration: I've been waiting for Maggie Gram's The Invention of Design for twenty years (maybe not this book exactly, but a worse version to be sure). As a graphic designer myself, I've found very few books that take a comprehensive look at design—and none that have done so with the rigor and wit of Maggie Gram. The book charts the ways in which design has gone from something decorative to potentially destructive, evolving from the Bauhaus to the boardroom over the last hundred or so years. Through this fascinating story, a history of the 20th century emerges, as we watch design contorting itself to serve the shifting demands of capital. Written with a sceptical Marxist bent, without ever being didactic, the book illuminates design as the overlooked phenomenon that it is: something so ubiquitous (and insidious) we often have no idea that we're even engaging with it. Grounding her narrative with biographical sketches of figures like ceramicist Eva Zeisel and industrial designer Walter Teague, Gram gives us a deeply human sense of how design’s utopian ideals continued to be reimagined, and how we ended up endowing design with such faith to solve even society’s biggest problems. If you've ever wondered just how we got to this place where the facile language of Design Thinking has so deeply pervaded our culture, this is the book for you. I learned so much about something I thought I knew well. The single best book on design I've read.
* * *
Sophia Stewart
Editor, The Millions
Nonfiction tends to comprise the bulk of my reading diet, but my absolute favorite books of 2025 were two novels: Michelle de Kretser’s Theory & Practice and Erin Somers’s The Ten Year Affair. Both are scarily smart and largely concerned with the unbridgeable gaps between our ideals, our fantasies, and our realities. Among my other Year in Reading–worthy encounters, I finally read Norman Rush’s Mating, a novel belonging to my preferred genre which my boyfriend calls "How Men and Women Relate." I adored and cried reading linguist Julie Sedivy’s memoir Linguaphile, and made my first foray into audiobooks with my girl Martha Barnette’s impossibly delightful (and wonderfully narrated) Friends with Words. And finally, I continued to steadily work my way through Shelley Jackson’s Riddance, which is not just a masterpiece of stuttering literature, but a masterpiece, period.
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The Millions’ Great Fall 2025 Book Preview
The leaves are turning, and new books abound. Fall is famously publishing's busy season, and this year is no exception. My favorite book of the year came out this autumn—Erin Somers's The Ten Year Affair—and I wouldn't be surprised if your own favorite read of 2025 awaits you on this list as well.
Here you’ll find around 100 titles out this fall that we’re excited about here at The Millions. Some we’ve already read in galley form; others we’re simply eager to dive into based on their authors or subjects. We leaned on our friends at Publishers Weekly to help blurb some of the many, many titles that we're eager to put on your radar.
The Millions is, alas, still on hiatus, but we’re determined to continue bringing you our seasonal Most Anticipated previews in the interim (if a bit belatedly).
—Sophia Stewart, editor
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October
The Four Spent the Day Together by Chris Kraus (Scribner)
A successful writer chafes at criticism and obsesses over a murder case in the ponderous latest from Kraus. Read more.
The Great Grown-Up Game of Make-Believe by Lauren D. Woods (Autumn House)
A wife literally begins to shrink inside her house, a mother remembers a surreal encounter between her infant daughter and a bear, and a woman stumbles upon a night club filled with her lover’s exes in Woods’s imaginative debut.
Things That Disappear by Jenny Erpenbeck, tr. Kurt Beals (ND)
After winning the Booker International Prize in 2024, Erpenbeck returns with a stunning collection of interlinked autobiographical essays exploring memory, loss, and absence.
The Mind Reels by Fredrik deBoer (Coffee House)
In this bracing debut novel from cultural critic deBoer, a young woman becomes a prisoner of her own mind. Read more.
Mothers by Brenda Lozano, tr. Heather Cleary (Catapult)
From Mexican writer Lozano comes a smashing novel set in 1946, as a wave of kidnappings shock and scandalize northern Mexico. Read more.
It Girl by Marisa Meltzer (Atria)
In this first comprehensive biography of Jane Birkin, Meltzer gives due credit to the woman behind one of the world’s most iconic and coveted handbags—and makes the case for why she was much more than an “it girl.”
Vaim by Jon Fosse, tr. Damion Searls (Transit)
Nobel winner Fosse centers this spectacular story of loneliness, love, and death on three linked characters living in small-town Norway. Read more.
Shadow Ticket by Thomas Pynchon (Penguin Press)
With his casually playful and chillingly resonant ninth novel, Pynchon delivers a warning against global fascism, a slapstick symphony whose antic comedy can’t begin to conceal its hopelessly broken American heart. Read more.
Unfit by Ariana Harwicz, tr. Jessie Mendez Sayer (ND)
Harwicz spins an unrelenting tale of a migrant woman who takes drastic steps to fulfill her radical conception of motherly love. Read more.
Gertrude Stein: An Afterlife by Francesca Wade (Scribner)
This innovative biography of Stein from Square Haunting author Wade assesses the influential writer’s life and work, from her childhood in California and productive years in Paris, to the ways that scholars constructed her posthumous legacy. Read more.
Intemperance by Sonora Jha (HarperVia)
In the jaunty latest from Jha, a twice-divorced feminist scholar decides to celebrate her 55th birthday by throwing herself a swayamvar, a traditional Indian ceremony in which a woman invites potential suitors to compete for her hand in marriage by performing various feats. Read more.
The Wayfinder by Adam Johnson (FSG)
Johnson, the Pulitzer-winning author of The Orphan Master’s Son, unfolds a majestic saga of political unrest in the South Pacific and a girl’s quest to save her people. Read more.
We Survived the Night by Julian Brave NoiseCat (Knopf)
Fresh off his first Oscar nomination, NoiseCat returns with an oral history and work of reportage that probes Indigenous culture through an intimate journey shared by a father and a son.
Minor Black Figures by Brandon Taylor (Riverhead)
The gimlet-eyed latest from Taylor follows a creatively blocked painter through the New York City art world. Read more.
Vagabond: A Memoir by Tim Curry (Grand Central)
In this charming debut autobiography, British actor Curry offers a peek behind the curtain of his prolific screen and stage careers. Read more.
A Guardian and a Thief by Megha Majumdar (Knopf)
Majumdar spins a luminous story of a family facing climate catastrophe and food scarcity in near-future Kolkata. Read more.
A Wooded Shore: And Other Stories by Thomas McGuane (Knopf)
McGuane rounds up another memorable group of misguided and doomed characters in this stellar collection. Read more.
Analog Days by Damion Searls (Coffee House)
Searls, translator of Jon Fosse and author of The Philosophy of Translation, offers in these clear-eyed ruminations a Gen Xer’s impressions of the technology and violence that shape 21st-century life. Read more.
Three or More Is a Riot by Jelani Kobb (One World)
New Yorker staff writer Cobb offers an expansive collection of his published essays, spanning from 17-year-old Trayvon Martin’s murder in 2012, which “ruined the mood of a nation that had, just a few years earlier, elected its first black president,” to Donald Trump’s return to office in 2025. Read more.
The House of Beauty by Arabelle Sicardi (Norton)
Across this searing collection of essays, former beauty editor Sicardi takes a knife to the industry in which they built their career, considering everything from the shimmering mica in beauty products to the historical connection between fragrance and fascism.
Twice Born by Hester Kaplan (Catapult)
In this affecting memoir, Kaplan examines her relationship with her father, Pulitzer Prize–winning biographer Justin Kaplan, who died in 2014. Read more.
Bog Queen by Anna North (Bloomsbury)
The discovery of a woman’s body in an English bog kicks off the piercing latest from North, which alternates between the perspectives of a forensic scientist tasked with identifying the remains and the long-dead woman, a young Druid leader who died around the year 50 BCE. Read more.
All That We See or Seem by Ken Liu (Saga)
This dazzling near-future mystery from Hugo winner Liu sparkles with suspense, intensity, and effortless worldbuilding. Read more.
The Land of Sweet Forever by Harper Lee (Harper)
This posthumous collection of Lee’s work offers up newly discovered short stories and previously published essays and magazine pieces that reveal another side to the To Kill a Mockingbird author.
The Ten Year Affair by Erin Somers (S&S)
Somers’s latest novel is a wry and ingenious tale of marital infidelity, offering a sardonic view into the pressures of marriage and motherhood and the ambient temptation of adultery. Read more.
Look Out by Edward McPherson (Astra House)
Guggenheim fellow McPherson presents a charming, idiosyncratic meditation on the human urge to see further, and more, in this cultural history of the “aerial view.” Read more.
Time Tunnel by Eileen Chang, tr. Karen S. Kingsbury and Jie Zhang (NYRB)
This sweeping collection gathers stories and essays from every stage of the late Chinese author’s career, some of which have never before been translated into English, spanning Shanghai and Hong Kong to the freeways of Los Angeles.
Looking for Tank Man by Ha Jin (Other Press)
In the latest from the National Book Award winner, a Chinese Harvard student grows fixated on the Tiananmen Square Massacre. Read more.
Motherland: A Feminist History of Modern Russia, from Revolution to Autocracy by Julia Ioffe (Ecco)
This kaleidoscopic volume from Ioffe, a finalist for this year’s National Book Award, combines memoir, journalism, and history to paint a nuanced portrait of modern Russia, all through the lens of womanhood.
That's How It Works, ed. Katherine Webb-Hehn (Hub City)
This vibrant collection highlights the best Southern fiction published by the Spartanburg, S.C.–based Hub City Press over the past three decades, featuring work by Carter Sickels, James Yeh, and more.
Sacrament by Susan Straight (Counterpoint)
Straight’s immersive latest is a vibrant drama following a group of nurses at the height of Covid-19 in August 2020. Read more.
The Anthony Bourdain Reader by Anthony Bourdain (Ecco)
This career-spanning collection offers up new and never-before-seen material, including diary entries and unpublished short stories, while also celebrating Bourdain’s most compelling and definitive essays.
Patchwork: A Graphic Biography of Jane Austen by Kate Evans (Verso)
This artful and thought-provoking graphic biography from Evans stitches a postcolonial layer into the narrative by examining the fabrics worn by Jane Austen and her contemporaries. Read more.
I Deliver Parcels in Beijing by Hu Anyan, tr. Jack Hargreaves (Astra House)
A literary sensation in China when it was first published in 2023, this vivid self-portrait is a universal exploration of gig work and the financial pressures of surviving in today’s big cities.
One, None, and a Hundred Grand by Luigi Pirandello, tr. Sean Wilsey (Archipelago)
The 1926 novel by the late Nobel Prize winner—a meditation on relativism that poses urgent questions about self-perception, insecurity, and doubt—gets a second life in this elegant new translation.
The Book of Kin by Jennifer Eli Bowen (Milkweed)
Bowen’s probing debut questions how we forge relationships, community, and joy within a world rife with isolation and solitude, drawing on her experiences as a mother, daughter, and founder of the Minnesota Prison Writing Workshop.
Bigger by Ren Cedar Fuller (Autumn House)
Fuller’s collection of personal essays calls on readers to imagine a "bigger" way of being in the world, from accommodating and celebrating difference, to finding new modes of expressing ourselves and loving others.
Jack the Modernist by Robert Glück (NYRB)
Glück's novel of sex and art—a cult classic and trailblazing work of postmodern gay fiction—traces the gradual dissolution of a love affair against the backdrop of 1980s San Francisco.
Dead and Alive by Zadie Smith (Penguin Press)
Novelist and critic Smith brings an incisive eye and keen wit to art, music, fiction, politics, and more in these wide-ranging essays. Read more.
Little F by Michelle Tea (Feminist Press)
By turns heartbreaking, hilarious, and hope-filled, the latest from Tea follows a 13-year-old runaway’s search for a queer paradise. Read more.
November
Across the Universe by Natan Last (Pantheon)
New Yorker crossword constructor Last debuts with an enthusiastic exploration of the crossword puzzle, amounting to a love letter best suited for fellow obsessives. Read more.
On the Calculation of Volume III by Solvej Balle, tr. Sophia Hersi Smith and Jennifer Russell (ND)
In the ingenious third installment of Balle’s septology, Danish rare book dealer Tara Selter is still trapped in the 18th of November. Read more.
Dress, Dreams, and Desire by Valerie Steele (Bloomsbury)
Steele, once described by critic Suzy Menkes as "the Freud of fashion," probes the intersections of psychoanalytic principles and the clothes we wear.
Queen Esther by John Irving (S&S)
Irving revisits the setting of The Cider House Rules with a novel about a Viennese Jewish orphan and her adoptive family in New Hampshire. Read more.
Book of Lives: A Memoir of Sorts by Margaret Atwood (Doubleday)
The remarkable debut memoir from Booker Prize winner Atwood recounts pivotal moments in her personal life that shaped some of her most enduring work as a writer. Read more.
Lightbreakers by Aja Gabel (Riverhead)
A California couple’s marriage is put to the test when they take part in a dodgy experiment in Gabel’s satisfying sophomore novel. Read more.
Palaver by Bryan Washington (FSG)
Washington revisits the Japanese setting of his novel Memorial with a bighearted drama about a 30-something Houston man’s reunion with his estranged mother. Read more.
The Year of the Wind by Karina Pacheco Medrano, tr. Mara Faye Lethem (Graywolf)
Pacheco Medrano dazzles in her English-language debut, the surreal story of a 50-something Peruvian writer reckoning with her cousin’s disappearance during the government’s conflict with a Maoist insurgency in the 1980s. Read more.
Helm by Sarah Hall (Mariner)
This virtuosic outing from Hall gives voice to the Helm—a storied northeasterly wind known for its destructive power and distinctive cloud formations that blows down the Cross Fell escarpment in Northwest England. Read more.
Bread of Angels by Patti Smith (Random House)
Smith returns with yet another memoir, even more intimate than the last, traversing her teenage years, romantic entanglements, defining losses, and creative liberation.
False War by Carlos Manuel Álvarez, tr. Natasha Wimmer (Graywolf)
Cuban writer Álvarez constructs a mesmerizing novel out of vignettes featuring characters who left Castro’s Cuba only to experience more dispossession and indignity. Read more.
Hidden Portraits by Sue Roe (Norton)
In six biographical essays, Roe paints a detailed study of the women who inspired, loved, and troubled Pablo Picasso: models Fernande Olivier and Marie-Thérèse Walter, ballerina Olga Khokhlova, painters Dora Maar and Françoise Gilot, and Picasso’s widow, Jacqueline Roque. Read more.
Pandora by Ana Paula Pacheco, trans. by Julia Sanches (Transit)
Equal parts ribald and unsettling, Brazilian writer Pacheco’s English-language debut chronicles a literature professor’s mental breakdown. Read more.
Governing Bodies by Sangamithra Iyer (Milkweed)
Iyer traces her passion for conservation and animal rights activism back two generations in this beautiful debut memoir. Read more.
Queen Mother by Ashley D. Farmer (Pantheon)
Historian Farmer offers an impressive biography of pioneering Black Nationalist Audley “Queen Mother” Moore. Read more.
Life on a Little-Known Planet by Elizabeth Kolbert (Crown)
Kolbert has radically informed the way modern audiences understand climate change, and her newest collection is no exception, zooming into stories of hope, activism, and innovation across the globe.
Black-Owned by Char Adams (Tiny Reparations)
Former NBC News journalist Adams debuts with an illuminating history of America’s Black-owned bookstores, from the Tribeca storefront opened in 1834 by abolitionist David Ruggles to the radical bookshops of the 1960s. Read more.
Fire in Every Direction by Tareq Baconi (Washington Square)
In this poignant autobiography, queer Palestinian writer and activist Baconi tenderly explores identity, nationality, and family history. Read more.
The Bridegroom Was a Dog by Yoko Tawada, tr. Margaret Mitsutani (ND)
First published in 1998, Parul Sehgal called Tawada’s absurd yet tender tale of unexpected romance "her masterpiece."
The Silver Book by Olivia Laing (FSG)
Laing, who’s written nonfiction about the lives of artists and one previous novel, Crudo, fuses the two forms with a lush narrative of art and love in 1970s Italy. Read more.
The White Hot by Quiara Alegria Hudes (One World)
The potent debut novel from playwright and memoirist Hudes follows a single mother who abandons her daughter to try and find herself. Read more.
The Emergency by George Packer (FSG)
Packer, a journalist and National Book Award winner, delivers a propulsive Orwellian novel set in a strange future world known as “the empire.” Read more.
Find Him! by Elaine Kraf (Modern Library)
Kraf, who died in 2013, depicts in this striking 1977 novel the eccentric life of a mysterious unnamed woman who confesses she has “no identity, no ability to think or speak.” Read more.
This Unruly Witness, ed. Lauren Muller, Becky Thompson, Dominique C. Hill, and Durell M. Callier (Haymarket)
June Jordan’s legacy as a poet, activist, and healer is celebrated in this landmark collection, complete with contributions from such luminaries as Alexis Pauline Gumbs, Imani Perry, and Angela Davis.
The Book of Women's Friendship, ed. Rachel Cooke (Norton)
Drawing on fiction, diaries, poetry, and letters, this first major anthology of female friendship succinctly mines the impact, history, and beauty of platonic love between women.
The Body Digital by Vanessa Chang (Melville House)
Chang, director of programs at Leonardo, the International Society for the Arts, Sciences, and Technology, debuts with a lofty history of the relationship between technology and the human body. Read more.
Estate by Cynthia Zarin (FSG)
The elegant latest from Zarin offers a new and seemingly autofictional version of the love story central to her previous novel, Inverno. Read more.
Girls Play Dead by Jen Percy (Doubleday)
Percy, a New York Times Magazine contributing writer, offers a groundbreaking exploration of women’s often shamed and silenced responses to sexual assault. Read more.
Blank Space by W. David Marx (Viking)
Marx offers an astute glimpse into how culture has stagnated throughout the past 25 years while examining how commercial and technological forces have played into that shift.
My Little Donkey by Martha Cooley (Catapult)
In this elegant volume, novelist Cooley reflects on her late-in-life move to Italy. Read more.
Fear Less: Poetry in Perilous Times by Tracy K. Smith (Norton)
The Pulitzer Prize–winning poet demystifies an art form that for many can seem inaccessible and intimidating, arguing that poetry—and the humanity it brings to the fore—is needed now more than ever.
Winning the Earthquake by Lorissa Rinehart (St. Martin's)
Historian Rinehart offers an illuminating biography of the first woman elected to Congress. Read more.
(Th)ings and (Th)oughts by Alla Gorbunova, tr. Elina Alter (Deep Vellum)
The 61 stories in this razor-sharp collection from Gorbunova evoke the absurdity of everyday life in post-Soviet Russia. Read more.
Queen of Swords by Jazmina Barrera, tr. Christina MacSweeney (Two Lines)
In this propulsive, deeply researched narrative, readers accompany Barrera as she investigates the influential 20th-century Mexican novelist Elena Garro, using everything from Garro's archives to astrology.
The Week of Colors by Elena Garro, tr. Megan McDowell (Two Lines)
Publishing in tandem with Barrera’s The Queen of Swords is this dazzling 1963 collection of stories about hauntings, curses, and the uncanny from Garro, a pioneer of magical realism. Read more.
Baby Driver by Jan Kerouac (NYRB)
The autobiographical novel by Jack Kerouac’s daughter, first published in 1981, offers a thrilling and unflinching glimpse into the author's difficult childhood—shaped by paternal neglect—and the sense of resilience and self-reliance it instilled in her.
Married Life by Sergio Pitol, tr. George Henson (Deep Vellum)
From one of Mexico’s most influential writers comes a satirical, unsparing story about a heartbroken wife seeking a fresh start in the wake of her husband’s infidelity.
Palace of Deception by Darrin Lunde (Norton)
The rise of scientific racism takes on a new dimension in Lunde’s stunning investigation into the American Museum of Natural History and its complicated origins.
Beasts of the Sea by Iida Turpeinen, tr. David Hackston (Little, Brown)
Turpeinen’s fantastic debut interweaves the fate of an extinct aquatic species with the stories of the people who discovered and destroyed it. Read more.
Racial Fictions by Hazel V. Carby (Verso)
Combining historical analysis, literary criticism, and cultural theory, Carby’s interrogation of the racial myths that have shaped our world is as insightful as it is timely.
December
House of Day, House of Night by Olga Tokarczuk, tr. Antonia Lloyd-Jones (Riverhead)
This vivid 1998 novel from Nobel winner Tokarczuk prefigures the discursive style of her later work such as Flights, with the story of a woman who moves with her husband from their Polish city to rural Silesia. Read more.
A Long Game by Elizabeth McCracken (Ecco)
Story Prize winner McCracken distills decades of personal experience into 280 idiosyncratic reflections on writing. Read more.
Algorithm of the Night by A.S. Hamrah (n+1)
The film critic's talents are on full display in this collection, which gathers recent essays from n+1, The Baffler, the New York Review of Books, the Criterion Collection, and more.
The Complete C Comics by Joe Brainard (NYRB)
Throughout the 1960s, Joe Brainard teamed up with such poets as John Ashbery, Frank O’Hara, and Barbara Guest to create pioneering, collaborative comic strips—and now, these comics are compiled for the first time in a single, sweeping volume.
Galapagos by Fátima Vélez, tr. Hannah Kauders (Astra House)
Colombian writer Vélez makes a striking debut with a fever dream of a novel that evokes the AIDS epidemic as it follows a group of artists and political radicals on a phantasmagoric voyage. Read more.
Barbieland by Tarpley Hitt (One Signal)
Timed perfectly to Barbie’s cultural resurgence, Hitt deftly unpacks the history behind and enduring appeal of the beloved doll.
The Jaguar’s Roar by Micheliny Verunschk, tr. Juliana Barbassa (Liveright)
The Brazilian author’s fifth novel, and first to be translated into English, weaves an extraordinary tale about an Indigenous girl’s kidnapping during a colonial expedition and the ramifications that unfold centuries later.
The Award by Matthew Pearl (Harper)
Pearl takes a knife to the publishing industry and its much-ballyhooed literary prizes, offering a keen-eyed portrait of ambition, jealousy, and desperation.
Casanova 20 by Davey Davis (Catapult)
Davis unfurls a fascinating narrative of art and desire, following an amorous and preternaturally beautiful young man and his unusual friendship with an elder painter. Read more.
Googoosh by Googoosh (Gallery)
The legendary Iranian superstar tells the story of her rise to fame in pre-revolution Iran, her arrest and imprisonment, her 20 years in exile, and, eventually, her triumphant return to the global stage.
The Aquatics by Osvalde Lewat, tr. Maren Baudet-Lackner (Coffee House)
Cameroonian filmmaker and photographer Lewat makes her English-language debut with a shocking morality tale about an African woman torn between her bureaucrat husband and her artist friend, whose homosexuality is a high crime in their fictional country of Zambuena. Read more.
The Lord by Soraya Antonius (NYRB)
This timely, vivid novel meditates on myth, community, revolution, and prejudice through the eyes of a magician living in Palestine before the Nakba.
Television by Lauren Rothery (Ecco)
Rothery’s nimble debut zooms in on an aging, A-list movie star, the relationships that buoyed him throughout his career, and the disparities of talent, wealth, and artistry that mar Hollywood.
A Danger to the Mind of Young Girls by Adam Morgan (One Signal)
Morgan, founder of the Chicago Review of Books, debuts with a comprehensive biography of Margaret C. Anderson (1886–1973), founder of the early-20th-century avant-garde magazine The Little Review. Read more.
Daring to Be Free by Sudhir Hazareesingh (FSG)
In this stunning revisionist history, Hazareesingh makes the case that enslaved people rebelled against their captivity throughout all four centuries of the Atlantic slave system—and that those efforts contributed more to their freedom than "the campaigns of enlightened white abolitionists." Read more.
Daddy Was a Number Runner by Louise Meriwether (Feminist Press)
This new edition of Meriwether’s classic novel about a young Black girl’s coming of age in 1930s Harlem offers a fresh glimpse into the author’s legacy, featuring new writing celebrating her life, work, and activism.
The Millions’ Great Summer 2025 Book Preview
Any book can be a beach read with the right attitude. On offer this summer are a bevy of books to take seaside, or poolside, or to the park, patio, or outdoor setting of your choosing. Here you’ll find just over 100 titles out this summer that we’re excited about here at The Millions. Some we’ve already read in galley form; others we’re simply eager to dive into based on their authors or subjects. We hope you find your next great read among them.
The Millions is, alas, still on hiatus, but we're determined to continue bringing you our seasonal Most Anticipated previews in the interim (if, at times, a bit belatedly).
—Sophia Stewart, editor
*
July
I Want to Burn This Place Down by Maris Kreizman (Ecco)
Kreizman's writing captures that distinctly millennial brand of malaise with refreshing wit and vigor, and her always-correct book world takes are informed by a deep love of literature. I'm looking forward to seeing these chops and more on display in her debut essay collection. —Sophia M. Stewart
Hot Girls with Balls by Benedict Nguyễn (Catapult)
Nguyen's debut is a subversive satire and romantic romp rolled into one, following two Asian American trans women's scheme to join a men's pro indoor volleyball league. —SMS
Vera, or Faith by Gary Shteyngart (Random House)
Shteyngart returns with the story of a precocious little girl as she searches for her birth mother, navigates her imploding family, and strives toward unending love. —Eva M. Baron
Long Distance by Ayşegül Savaş (Bloombsury)
Savas's followup to her brilliant novel The Anthropologists is a collection of stories that deconstruct contemporary life through the lenses of desire, loss, and intimacy. —SMS
A Bomb Placed Close to the Heart by Nishant Batsha (Ecco)
The sophomore novel from Batsha, inspired by the real-life romance of 20th-century radicals M.N. Roy and Evelyn Trent, tells the love story of an Indian revolutionary and Stanford grad student who fall for one another in 1917. —SMS
Bring the House Down by Charlotte Runcie (Doubleday)
A ruthless theater critic meets his match in a struggling actress, who sets off the unraveling of his reputation after a one-night stand in Runcie’s clever tale, which also offers a piercing critique of power games and misogyny. —Sam L. Spratford
Putafeminista by Monique Prada, tr. Amanda De Lisio (Feminist Press)
Brazilian sex worker and activist Prada calls for a working class women's movement that rejects "whorephobia" and critiques current feminist discourse around sex work in this bracing manifesto. —SMS
Sunburn by Chloe Michelle Howarth (Melville House)
Howarth's queer coming-of-age novel set in small-town Ireland in the early 1990s mines the intensity of first love (and first heartbreak) as well as the pain of being queer in a small, conservative community. —SMS
Fools for Love by Helen Schulman (Knopf)
Following her 2023 novel Lucky Dogs, Schulman offers up a smart short story collection complete with a cast of characters including an East Village playwright, a precocious baby, and an American mother and French Orthodox rabbi who become lovers. —EMB
The Feather Detective by Chris Sweeney (Avid Reader)
In the 1960s, Roxie Laybourne pioneered the field of forensic ornithology, which is exactly what it sounds like—using feathers to solve bird-related mysteries and crimes, from plane crashes to a racist tarring-and-feathering. Sweeney's biography must be read to be believed. —SMS
A Return to Self by Aatish Taseer (Catapult)
Part travelogue, part memoir, A Return to Self was spurred by the revocation of Taseer's Indian citizenship in 2019, exiling him from his home of 30 years. Traveling across cities in Turkey and Mexico, he considers questions of identity, home, and why certain sites become historical epicenters. —SMS
The Convenience Store by the Sea by Sonoko Machida, tr. Bruno Navasky (Putnam)
Centered on a small-town Japanese mini-mart aptly called Tenderness, Machida’s international bestseller is a heartfelt ode to community and the unassuming delights that help us all endure. —SLS
Passport to Paris and Los Angeles Poems by Vernon Duke, tr. Boris Dralyuk (Paul Dry Books)
I've been reading Dralyuk's translations of and writing about Vernon Duke for a couple years now, courtesy of his wonderful blog, and could not be more excited to see Duke's Los Angeles poems paired with his 1995 memoir—both rendered in Dralyuk's always-brilliant translation from the Russian. —SMS
A Flower Traveled in My Blood by Haley Cohen Gilliland (Avid Reader)
Gilliland's sweeping, rigorous narrative history tells the story of the Abuelas de Plaza de Mayo, the fearless Argentine grandmothers whose pregnant daughters were disappeared and whose grandchildren were kidnapped by the government—and have much to teach us now. —SMS
Make Your Way Home by Carrie R. Moore (Tin House)
The 11 stories in Moore's debut collection explore the lives of Black men and women in the American South—from North Carolina to Florida to Texas—who seek a sense of belonging in the oppressive shadow of history. —SMS
Information Age by Cora Lewis (Joyland)
Lewis’s novella of a journalist covering technology in the late 2010s looks back on the not-so-distant early days of our dizzying digital news cycle, through the ears of one woman whose reporting and personal life meld into one noisy milieu. —SLS
Blowfish by Kyung-Ran Jo, tr. Chi-Young Kim (Astra House)
A successful sculptor contemplates killing herself by eating a fatal serving of blowfish—just as her grandmother did before her—in Jo's haunting novel. —SMS
Nothing More of This Land by Joseph Lee (One Signal)
Growing up on Martha’s Vineyard, Lee found that his Wampanoag identity didn’t match what he learned about U.S. history at school. Now a journalist, he thinks about the meaning of Indigenous identity today and how one might move beyond colonial legacies. —Nathalie op de Beeck
Necessary Fiction by Eloghosa Osunde (Riverhead)
Following their acclaimed debut Vagabonds!, Osunde’s sophomore novel conjures up more than two dozen multi-generational characters navigating queer life in Nigeria, who grapple with everything from the risks of authenticity to questions of death and God. —SLS
Maggie; or, A Man and a Woman Walk Into a Bar by Katie Yee (Summit)
Yee weaves tragedy into comedy in her debut novel, which follows an unnamed Chinese American woman as she navigates the one-two punch of discovering her husband's infidelity and being diagnosed with breast cancer. —SMS
Pan by Michael Clune (Penguin)
A precocious teenager tries to get to the roots of his anxiety after he starts suffering from panic attacks, reading and writing his way toward an explanation—including that the Greek god Pan, from which the word panic, comes, might be trapped inside his body. —SMS
Sloppy by Rax King (Vintage)
King follows up her cheeky debut Tacky with an essay collection about bad behavior—from shoplifting to drug use and abuse to mental illness—written with her characteristic wit, cheek, and sense of gallows humor. —SMS
Black Genius by Tre Johnson (Dutton)
Johnson’s subversive and entertaining essays weave family and U.S. history to illuminate Black ingenuity and the "brilliance of the everyday," from 90s airbrush graffiti tees to unassuming family traditions. —SLS
The Trembling Hand by Mathelinda Nabugodi (Knopf)
Nabugodi's new history of Romantic literature illuminates the ever-looming presence of the Atlantic slave trade in the lives and work of Shelley, Keats, and others, exemplifying the difficulty—and necessity—of facing the violent contradictions that undergird the stories we love to read and tell. —SLS
An Oral History of Atlantis by Ed Park (Random House)
Park’s story collection perfects the tongue-in-cheek accounting of modern life that characterized his two novels, delivering a memorable cast of characters whose fates coincide at the border between mundane and strange. —SLS
Time of Silence by Luis Martín-Santos, tr. Peter Bush (NYRB)
This new translation restores the most unsavory truths about Franco’s dictatorship to Martín-Santos's darkly funny 1962 novel, which follows a Nobel-aspiring scientist through the shadows of a society that has hit rock bottom. —SLS
The Dance and the Fire by Daniel Saldaña París, tr. Christina MacSweeney (Catapult)
Described as "spellbinding" by PW, Saldaña’s latest is a smoldering tale of three friends whose erotic and artistic dynamics rouse a Mexican city from its collective slumber. —SLS
Simplicity by Mattie Lubchansky (Pantheon)
From the editor of the satirical comics publication the Nib comes an imaginative and terrifying story of monsters both natural and supernatural, set in 2081 between a dystopian New York City and a cult in the Catskills. —SLS
My Clavicle and Other Massive Misalignments by Marta Sanz, tr. Katie King (Unnamed)
Sanz's autofictional English-language debut is a poetic meditation on illness, mortality, and writing sure to please memoir readers and mystery enthusiasts alike. —SLS
Love Forms by Claire Adam (Hogarth)
In a sprawling and emotional tale of an aging woman in search of the daughter she gave up for adoption at 16, Adam probes the many ways love can shape our lives in her latest novel since her prize-winning debut Golden Child. — SLS
Lonely Crowds by Stephanie Wambugu (Little, Brown)
The art world is infamously cutthroat—and an endless source of inspiration for novelists. Wambugu’s debut fits squarely into this tradition, conjuring New York’s art scene in the early 1990s through the intense, competitive, and richly imagined friendship of two ambitious women. —EMB
August
Solitaria by Eliana Alves Cruz, tr. Benjamin Brooks (Astra House)
In Cruz’s propulsive liberation novel, a mother and a daughter work as live-in maids in the Golden Plate, the most expensive building in an unnamed Brazilian city. While there, the duo must reckon not only with their own invisibility and dissatisfaction, but with Brazil’s legacies of colonial violence, wealth, and injustice. —EMB
He Rolled Me Up Like a Grilled Squid by Yoshiharu Tsuge, tr. Ryan Holmberg (D&Q)
Manga creator Yoshiharu Tsuge, now in his 80s, had a relatively short comics career from 1965–1987, rising to cult status but plagued by difficulties with his mental health. This collection of his work, spanning 1975–1981, showcases Yoshiharu’s characteristic blend of the personal and the nightmarish. —NodB
People Like Us by Jason Mott (Dutton)
Mott follows up his 2021 National Book Award–winning novel Hell of a Book with a surreal and intimate story about two Black writers contending with loss, longing, and gun violence. —EMB
Blessings and Disasters by Alexis Okeowo (Holt)
Perhaps even more than the New Yorker writer's journalistic chops, Okeowo's ability to navigate, with nuance and empathy, seemingly hopeless racial divides is what makes this ground-level depiction of her home state of Alabama exceptional. —SLS
The Invention of Charlotte Brontë by Graham Watson (Pegasus)
Watson's debut biography deconstructs the Jayne Eyre author's swift ascent to literary fame and the dueling narratives that continue to shape her legacy. —SMS
The Book of Homes by Andrea Bajani, tr. Elizabeth Harris (Deep Vellum)
Bajani’s episodic, nonlinear narrative traces one man’s memories and rites of passage through a series of northern Italian homes, from infancy in 1976 to 21st-century adulthood. —NodB
Moderation by Elaine Castillo (Viking)
As our world becomes more virtual, so too does romance. That shift grounds Castillo’s intriguing latest, where one of the world’s best content moderators must contend with falling in love during a digital—and increasingly isolated—era. —EMB
Putting Myself Together by Jamaica Kincaid (FSG)
Intimate in scope and ambitious in subject matter, this collection gathers Kincaid's early pieces from such publications as the New Yorker, Village Voice, and Ms., exemplifying her stylistic confidence—and evolution—across time. —EMB
Friends with Words by Martha Barnette (Abrams)
A Way with Words is the only podcast I listen to, and the fact is that I would die for Martha Barnette, so I can't wait to read her chronicle of her lifelong love of language. —SMS
God and Sex by Jon Raymond (S&S)
Climate disaster, New Age writing, carnality, and meditations on God may seem an unlikely melange, but Raymond brilliantly merges each of these strands into this rigorous and probing novel about an author whose brush with a forest fire pushes him to seek a higher power. —EMB
The Dilemmas of Working Women by Fumio Yamamoto, tr. Brian Bergstrom (HarperVia)
Each of the five stories in Yamamoto's collection centers on a different woman navigating life in contemporary Japan, where the alienation of wage labor compounds with the pressure to be agreeable, maternal, and non-confrontational—patriarchal norms to which these "spiky" women cannot bend. —SLS
Loved One by Aisha Muharrar (Viking)
Muharrar—a TV writer with credits on Hacks, Parks and Rec, The Good Place, and more—makes her literary debut with this story of love and loss, about a young woman who goes on an intercontinental journey to recover the belongings of her old friend and first love, who dies unexpectedly at 29. —SMS
Dwelling by Emily Hunt Kivel (FSG)
Perhaps out of necessity, our ongoing housing crisis offers perfect fodder for fiction—or at least that’s the case for Kivel’s aptly-titled, surrealist debut. Part fairy tale, part social commentary, this innovative and wry story follows a young woman’s quest for a home when, in a world-ending twist, every renter is evicted en masse. —EMB
Little World by Josephine Rowe (Transit)
Rowe's story about various lives touched by a child saint's corpse over space and time is lyrical, varied, and only slightly less strange than it sounds. —SLS
Positive Obsession by Susana M. Morris (Amistad)
Octavia Butler was a literary trailblazer as the first Black woman to consistently write and publish science fiction. This sweeping biography probes Butler’s legacy with both sensitivity and rigor, considering the cultural, political, and social contexts that shaped her life and writing. —EMB
Black Moses by Caleb Gayle (Riverhead)
It's a rare and satisfying experience to find a nonfiction book that balances the scope of its content with narrative coherence, without sacrificing either. Gayle's latest carves a historical epic out of a forgotten episode in the Black separatist movement, enthralling as both a character study and a novel look at America's racial history. —SLS
Stories of the True by Jeyamohan, tr. Priyamvada Ramkumar (FSG)
With evocative, refreshing, and at times volatile prose, Jeyamohan reveals the intricacies of life in contemporary India through stories about bureaucrats, elephants, gurus, and doctors. —EMB
The Dancing Face by Mike Phillips (Melville House)
In this highly original thriller, Gus, a Black university professor, plans a burglary to "liberate" a priceless Benin mask from a London museum. The result is a timely meditation on what art institutions owe us and the cultures they plunder. —EMB
The Right of the People by Osita Nwanevu (Random House)
Taking up some of the most monumental political questions of our day, including the viability of America's founding institutions, this treatise from Nwanevu, an editor at the New Republic, is essential reading for anyone who feels their hopes for democratic reform floundering. —SLS
The New Lesbian Pulp ed. Sarah Fonseca and Octavia Saenz (Feminist Press)
Who doesn't love pulp fiction, the more melodramatic the better? This collection is a heady mix of 1950s-era lesbian pulp and newer material that turns up a notch or two the classic tropes of romantic peril, unbridled passion, and revenge. —Claire Kirch
Women, Seated by Zhang Yueran, tr. Jeremy Tiang (Riverhead)
In this propulsive translation, a nanny witnesses a wealthy Chinese family’s fall from grace—all while knowing their darkest secrets and caring for their only son. —EMB
The El by Theodore C. Van Alst Jr. (Vintage)
Van Alst Jr.'s semi-autobiographical novel, inspired by Sol Yurick's The Warriors, follows a group of teenage gang members in Chicago who trek across the city to attend a high-profile gathering of gangs. —SMS
Where Are You Really From by Elaine Hsieh Chou (Penguin Press)
In Chou's clever collection, which includes short stories and a novella, features a cast of characters who invariably find themselves in extraordinary situations that shake up their sense of self and make them reconsider their place in the world. —CK
The New Negro ed. Martha H. Patterson and Henry Louis Gates Jr. (Princeton UP)
This anthology, coedited by the great Skip Gates, spanning 1887-1937 chronicles how generations of Black thinkers from W.E.B Du Bois to Oscar Micheaux to Zora Neale Hurston conceptualized and debated the idea of the "New Negro." —SMS
The Quiet Ear by Raymond Antrobus (Hogarth)
Antrobus's memoir untangles his knotty relationship to his own deafness, exploring the "missing sounds" that shaped his life and the sense of in-betweenness that long defined both his aural ability and racial identity. —SMS
Dominion by Addie E. Citchens (FSG)
The debut novel from the inaugural FSG Writer's Fellow is a Black Southern family drama that wrestles with sin, silence, and patriarchy in a small Mississippi town. —SMS
Mounted by Bitter Kalli (HarperOne)
As Beyoncé and others push us to reconsider the legacy of the cowboy, Kalli explores how intertwined Blackness, nationhood, and horses have been throughout history. —EMB
Patchwork by Tom Comitta (Coffee House)
For fans of Burroughs's cut-up tradition, Comitta's latest is a fresh experiment in the limits of literary collage. Using illustrations and passages from classic literature, the Nature Book author fashions a playful story about the search for a missing snuff box, full of sensory surprises and curiosities of craft. —SLS
Archipelago by Natalie Bakopoulos (Tin House)
This atmospherically rich book, which follows an unnamed translator at an artists' residency on a Croatian island, is also chock-full of thought-provoking commentary on authorship and creative identity. —SLS
Baldwin by Nicholas Boggs (FSG)
Boggs's door-stopper of a biography—the first of Baldwin in three decades—examines how the visionary author's intimate and artistic relationships with four men shaped his life and work. —SMS
Hothouse Bloom by Austyn Wohlers (Hub City)
Wohlers's debut novel follows a young woman who arrives at her late grandfather's apple orchard with the intention of giving up her painting career and social life in order to become one with the trees—until the appearance of an old friend upends her plans. —SMS
A Truce That Is Not Peace by Miriam Toews (Bloomsbury)
Marking the first time in two decades that Toews has written about her own life in nonfiction, this memoir is a poignant meditation upon her sister’s suicide, the urge to write, and the limits of memory. —EMB
Two Serious Ladies by Jane Bowles (Picador)
Bowles's 1943 novel—her only one, now with a new introduction from Sheila Heti—is a modernist tale about two upper-class women who eschew convention and embrace debauchery. —SMS
Katabasis by R.F. Kuang (HarperCollins)
Fans of Babel will not be disappointed by Kuang's latest dark-academia epic, which follows an honors graduate student in "Analytical Magick" and her rival as they embark on a Dantesque journey to rescue her advisor from the underworld. —SLS
Such Great Heights by Chris DeVille (St. Martin's)
This cultural history of the indie rock explosion—from Neutral Milk Hotel and Death Cab to Sufjan and the National—would have blown my teenage self's mind. It is total catnip to adult-me as well. —SMS
September
Mother Mary Comes to Me by Arundhati Roy (Scribner)
In electrifying, intimate prose, Roy's first memoir traces the her complex relationship with her mother, Mary and how it shaped the person—and writer—she ultimately became. —EMB
The Woman Dies by Aoko Matsuda, tr. Polly Barton (Europa)
Following her last collection Where the Wild Ladies Are, Matsuda's latest stays focused on the absurdities and traumas of sexism in Japan, presenting 52 fresh, subversive stories that call to mind Shirley Jackson's short works. —SLS
Trip by Amie Barrodale (FSG)
Barrodale's debut novel follows Sandra, who dies suddenly at a death conference in Nepal and must set off on a quest in the afterlife to help her son, who is both literally and metaphorically lost at sea. —SMS
Beyond All Reasonable Doubt, Jesus Is Alive! by Melissa Lozada-Oliva (Astra House)
Magic, humor, and faith ground Lozada-Oliva’s story collection, which features beheaded bodies, bizarre video games, sentient tails, and haunted punk houses. —EMB
Miss Ruki by Fumiko Takano, tr. Alexa Frank (NYRC)
Frank's translation brings this lighthearted manga into English for the first time. Originally published in Japan in the 1980s, the eponymous protagonist is an offbeat young woman who rejects the rat race for a slower, more intentional life. —SLS
The Improbable Victoria Woodhull by Eden Collinsworth (Doubleday)
At once celebrated and maligned, the 19th-century businesswoman and activist at the center of Collinsworth's biography dipped her toe in everything from mysticism to free love to an unprecedented presidential campaign. —EMB
The Wax Child by Olga Ravn, tr. Martin Aitken (ND)
An unlikely narrator guides this visceral horror story: a wax doll created by an unmarried noblewoman accused of witchcraft. Through the eyes of this doll, we witness—with startling clarity—the brutality and fear that ruled 17th-century Denmark. —EMB
Grace Period by Maria Judite de Carvalho, tr. Margaret Jull Costa (Two Lines)
When de Carvalho's protagonist sets out to sell his childhood home to fund a trip for his dying girlfriend, he is forced to reckon with the 25 out-of-control years that separate him from his past, which is full of paralyzing love, pain, and apathy. —VMS
Reflections on Exile by Edward W. Said (Vintage)
This reissue of selected essays by the great scholar and critic Said, which features the particularly salient title essay on the fate of the Palestinian people, is just the book we need right now. —SMS
Middle Spoon by Alejandro Varela (Viking)
As polyamory and open relationships gain cultural relevance, Varela's subversive and generous novel considers the sting of rejection and heartbreak from the perspective of its married narrator who has just been dumped by his younger boyfriend. —EMB
Tracker by Alexis Wright (ND)
Decorated novelist Wright returns to nonfiction with a portrait of an influential Aboriginal Australian leader conveyed through collective storytelling, providing a window into Aboriginal culture as it narrates a moment in 20th-century Australian politics. —SLS
The Sweet Dove Died by Barbara Pym (NYRB)
Pym's shrewd and ahead-of-its-time 1978 novel about a women's attachment to a much younger man is back in a new edition from NYRB, featuring an intro from Loved and Missed author Susie Boyt. —SMS
Helen of Nowhere by Makenna Goodman (Coffee House)
The country home around which Goodman's story coalesces is no ordinary haunted house. Through the eyes of a male protagonist, readers feel the titular spirit Helen at once as an intimately tangible presence and a harbinger of the existential stakes of starting one's life over again. —VMS
The Animal on the Rock by Daniela Tarazona, tr. Lizzie Davis and Kevin Gerry Dunn (Deep Vellum)
After the death of her mother, a woman named Irma holes up on a faraway beach to grieve and, the process, undergoes a supernatural metamorphosis in the Mexican author's latest. —SMS
A Silent Treatment by Jeannie Vanasco (Tin House)
Vanasco's memoir looks at how silence is wielded and weaponized through the lens of her own complicated relationship with her mother. —SMS
The Lack of Light by Nino Haratischwili, tr. Charlotte Collin and Ruth Martin (HarperVia)
This sprawling, densely populated saga charts the lead-up to and fallout from Georgia's independence from the Soviet Union through the lives of four childhood friends. —SMS
The Wilderness by Angela Flournoy (Mariner)
The brilliant sophomore novel from the National Book Award finalist follows five Black women across two decades as they attempt to shape their lives on their own terms. —VMS
Surviving Paris by Robin Allison Davis (Amistad)
We've all dreamed of escaping to Paris and living "la vie en rose." Davis, a Black woman and journalist, has written a memoir of how she did just that, but things did not go exactly as she'd hoped: Davis was diagnosed with breast cancer and had to contend with it far away from her loved ones, all while trying to find her way amid a foreign culture. —CK
Bird School by Adam Nicolson (FSG)
It’s a slippery slope from looking up a little brown bird on Cornell’s Merlin app to becoming an all-season birder. For Nicolson, a recognition of nesting species led to setting up a shed to watch wildlife year round. The book's British setting covers only a narrow range of birds, but its sentiments are universal; the world might have greater peace and sounder environmental policies if everyone took up birding. —NodB
Animal Stories by Kate Zambreno (Transit)
Zambreno is one of our most inventive and formally daring writers, and their latest work of nonfiction—a meditation on mortality, alienation, boredom, surveillance, and the animal kingdom—sees them at the height of their powers. —SMS
Do Admit: The Mitford Sisters and Me by Mimi Pond (D&Q)
Pond crafts a graphic narrative biography of the six Mitford sisters, among them writers Jessica and Nancy. Raised in a deteriorating English country manse, the early 20th-century socialites were known for differences of opinion around Empire and fascism. Pond paints the upper crust scene in prim navy, cool periwinkle, and powder blue. —NodB
Kaplan's Plot by Jason Diamond (Flatiron)
Centered on a son who returns to Chicago to be with his dying mother, Diamond's debut novel is a stunning story of how families bend to accommodate the unspoken, and how, every once in a while, a tenacious individual might straighten things out. —VMS
Articulate by Rachel Kolb (Ecco)
The deaf writer's deft debut memoir probes the many meanings of language, voice, and communication through the lens of her own attempts to harness speech and be perceived as "articulate." —SMS
For the Sun After Long Nights by Fatemeh Jamalpour and Nilo Tabrizy (Pantheon)
Iranian journalists Jamalpour and Tabrizy chronicle the 2022 women-led protests in Iran over the murder of Kurdish woman Mahsa Jîna Amini at the hands of police, catalyzing one of the country's largest uprisings in decades: the Woman, Life, Freedom movement. —SMS
The Waterbearers by Sasha Bonét (Knopf)
Bonét's profound ode to Black womanhood narrates the history of America through generations of Black mothers and daughters—including her own. —SMS
Discontent by Beatriz Serrano, tr. Mara Faye Lethem (Vintage)
When Marisa goes on a company retreat with her unhinged coworkers, the lies she's built her whole successful, fine-art-appreciating persona around are threatened to be exposed. What ensues is like a car crash you can't look away from—if a car crash was as hilarious and well-crafted as Serrano's writing. —SLS
It's Me They Follow by Jeannine Cook (Amistad)
Cook, founder and owner of the beloved Harriett's Bookshop in Philly, debuts with a romance starring a bookseller who becomes a reluctant matchmaker. —SMS
Will There Ever Be Another You by Patricia Lockwood (Riverhead)
After a bout with Covid, a successful author reckons with a dissolving sense of self and struggles to maintain her public persona, in this fictive exploration of consciousness. The No One Is Talking About This author conveys her protagonist’s dissociation and memory loss, heightened when her husband becomes ill and requires her care. —NodB
Goliath's Curse by Luke Kemp (Knopf)
The state of the world seems uniquely grim today—but haven't people always thought so? Kemp's sweeping survey charts the surprising history of societal collapse, bringing some (not always comforting) perspective to our own troubling reality. —SMS
We Love You Bunny by Mona Awad (S&S/Marysue Rucci)
Awad returns with another darkly comedic novel set in the "Bunny-verse," after her 2019 cult classic Bunny, about a lonely MFA student who gets seduced by a creepy clique. —SMS
Electric Spark by Frances Wilson (FSG)
The enigmatic Scottish writer Muriel Spark gets her due in Wilson's illuminating biography, which aims to demystify its stubbornly elusive but endlessly fascinating subject. —SMS
Beings by Ilana Masad (Bloomsbury)
Masad's second novel, after All My Mother's Lovers, weaves together three narratives—two set in the 1960s and one in the present—of love, loneliness, and supernatural encounters. —SMS
Cécé by Emmelie Prophète, tr. Aidan Rooney (Archipelago)
Immersed in the atmosphere and people of a Haitian cité, Prophète's titular protagonist attempts to claw a life for herself out of the hands of gangs, junkies, grandmothers, and preachers. With her morbid internet following on one side and the pressures of sex work on the other, Cécé is an imperfect and deeply human testament to female resiliency. —SLS
The Autobiography of H. Lan Thao Lam by Lana Lin (Dorothy)
Taking inspiration from Gertrude Stein's The Autobiography of Alice B. Toklas, Lin chronicles her partner Lan Thao's life and work in this genre-defying portrait. —SMS
To the Moon and Back by Eliana Ramage (Avid)
Ramage's ambitious and big-hearted debut novel follows one young woman across three decades and multiple continents on her quest to become the first Cherokee astronaut. —SMS
A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
A Year in Reading: Jedediah Britton-Purdy
At the end of 2019, I am reading with very different eyes from a year ago. My wife and I learned that she was pregnant on the last day of 2018, and our son, James, was born just before Labor Day. Two weeks after we learned of the pregnancy, we moved from North Carolina, where between us we had spent half our lives, to New York City, where we both began new jobs. New arrival sharpens vision: I paid closer attention to the details of changing seasons in Manhattan’s sui generis climate than I had in familiar places. I watched the first snowdrops bloom on the east-facing northwest shoulder of Central Park (late January), the first daffodils appear on the lower slopes of the Morningside escarpment (the end of February), and the redbud explode to announce the real beginning of an Eastern spring.
Books often bring the new for me, but this year they were more of a trace backward, stitching new experience into what underlay it. Looking at children’s books seriously for the first time in decades, I discovered images indelible in my mind but lost to conscious memory. When I opened Ezra Jack Keats’s The Snowy Day (1962), with its sharp-edged collage—a red snowsuit sharply outlined against white drifts and a brown-and-yellow cityscape—I realized I had been carrying it around all my life. It might have been my first way, as a rural child who loved snowstorms, of picturing life in cities, and imagining common experiences across racial lines. I had a purple snowsuit at about the time I first encountered Snowy Day, and this year I tracked down a false memory: I had thought of the fictional snowsuit as purple, putting myself in the story and bringing it into my own mornings when hours of play turned crisp chill into soggy cold.
I also learned that, in a place as iconic as New York City, something that catches your eye may already have a literary memorial. On one of the last weekends before James’s birth, I bicycled up Manhattan to the George Washington Bridge, where a snug red lighthouse nestles under the immense gray span. In replies to my predictable Instagram post, I learned that The Little Red Lighthouse and the Great Gray Bridge (1942) is a local touchstone on the attractive theme that everyone’s work is necessary—the lighthouse thinks the bridge will make it obsolete, but is reassured that its little light still matters. Now James has that book, a gift from a friend, and I wonder whether he will notice that the tugboats and barges that occasionally ply the river still look much the same as they did 80 years ago.
I spent a part of the summer reading the Library of America’s new two-volume edition of Wendell Berry’s nonfiction. This was another backward reach: I met Berry before I could read, at a draft horse auction in Ohio, and I’ve read his agrarian essays and communitarian, anti-capitalist criticism since I could read as an adult. His ideal of an economy of caregiving, not extractive but renewing, not acquisitive but joyous and generous, has been a point of my compass. So has his version of patriotism: a burdensome, trying, mandatory struggle with your legacies of harm, as well as a special interest in your country’s chance at being “a thing decent in possibility.” But I’ve struggled with his faith in the local and his mistrust of politics on any ambitious scale. I can’t imagine a transformation as deep as the one he wants that isn’t sharply political and doesn’t expand our sense of responsibility internationally, even if it also deepens that sense locally. Rereading him didn’t resolve any of these questions, but it took me back to finding, in him, a writer who had made a voice from materials I knew well: brushy, eroded hillsides; the bare gray trees of Appalachian winter; the way cool air comes down on a hayfield after sunset and soothes scratched arms that have been wrestling bales in the heat.
Another book helped me to reckon with my own past as a child of the late Cold War—middle-school age when the Berlin Wall fell. I had an abstract bent, and when I arrived at college, the political philosopher John Rawls was teaching what I think was the last lecture course of his long career, on the themes of his Theory of Justice, probably the most influential work in the field in the second half of the 20th century. In my earnest undergraduate way, I revered Rawls’s ambition to define a philosophical formula that could justify a social order on truly equal terms, but I also resisted a certain abstraction that made the theory hard to connect with the on-the-ground environmental justice work I had been involved with at home in West Virginia before leaving for school. Katrina Forrester’s new study of Rawls and post-World War II liberalism, In the Shadow of Justice, brilliantly maps the terrain where I was wandering, showing how Rawls’s monumental work, which defined what political philosophy was for generations, was itself a product of a very specific American moment: a time of elite consensus, economic optimism, and an ascendant philosophical method that put great stock in implicit agreement rather than pervasive conflict. That world has passed, but the thought it produced remains, and the awkward way that the one has perched on the other accounts for some of my bewilderment decades ago.
One of my favorite books of the year was another new one, Robert Macfarlane’s Underland. It is a study of the landscapes of deep time, the ways that descending into caves and catacombs, underground rivers and ancient glaciers, can train us to see how very old and strange the world is beneath its surface. It is the most fully achieved work in Macfarlane’s project of finding paths to re-enchantment—new sources of wonder in a damaged world, motivations to defend it that have joy as well as fear in them.
Time is also the theme of Martin Hagglund’s This Life, which had lodged this thought in my mind: a great part of the point of progressive politics is the struggle for time—for control of it, for the freedom to face an honest reckoning with what is worth doing with our fleeting lives. Imagine Mary Oliver’s “The Summer Day,” which famously asks, “what is it you plan to do/With your one wild and precious life?” and extend it to hundreds of pages of dense and passionate arguments with St. Augustine, Kierkegaard, Marx, Knausgaard, and Martin Luther King, Jr., and you have a sense of Hagglund’s project.
When James was born, sleepless but lifted by the energy of falling in love with this new person, I read him Milton’s Paradise Lost. I had never been through it. It is amazing—so much richer and more vital than I had allowed myself to expect. Reading it aloud—as my wife and I did with Emily Wilson’s Odyssey when it came out—was the way to meet it. Small freaks stayed with me: Milton has the rebel angels “canceled” by God from heaven’s memory, upon landing in hell Satan sends Mammon to found a mining operation (the devil a mine boss! It would have made sense to James’s coal-miner great-grandfather), and when the angel Raphael visits Eden, Adam and Eve make him a fruit salad. But the real wonder of the work is the reminder that language really is the first special effect: The scale of the story is literally cosmic, with angels and devils tumbling across galaxies and planes of creation, and the account of the Earth’s coming into being stirred a mental montage of every episode of Nova that I watched as a child and of Planet Earth as an adult: a world swirled into being from the materials of chaos, shaped by the planetary floods of its “God moved on the waters” phase, eventually birthing herds of beasts from its soil.
Milton’s account of creation famously gave Philip Pullman the phrase, “his dark materials,” the rubric for his wildly popular YA trilogy. As early-parenthood exultation receded before exhaustion, I started looking for simpler fantasy than Milton for long nights. Pullman’s prequel to His Dark Materials, The Book of Dust, was almost unreadably flat and derivative. I remember weeping while staying up all night reading the original series, so the disappointment felt close to betrayal when the only storyline that held my interest was the protagonists’ recurring difficulty finding diapers for the important baby (Lyra, later the heroine of the series) in their care. I did, however, thrill to Virginia Woolf’s Orlando (1928), feeling the same wonder I always do in reading Woolf that a writer can be so incisive at every level: the cut of the observation, the perfect unsentimental sympathy of the feeling, the fine balance of the sentence. Orlando suited the moment because it is a romp, a pastiche of literature and of literary culture (any one of its set-pieces on the vanity of writers would set the standard for a decade of The New Yorker’s “Shouts and Murmurs”) that is also a brilliant, prescient treatment of gender’s fluidity and strangeness. Woolf spotted that late-Medieval romance, with its phantasmagoric scene-changing and wild unreality, was the perfect template to let a character switch from “man” to “woman” and explore the boundaries between those while imposing no obligation on the author to explain the shifts except as occasion for remarking on the strangeness of both categories.
Maybe the greatest intellectual pleasure of this year was making the belated acquaintance of Stuart Hall, the very great cultural theorist and trenchant critic of Thatcher’s neoliberalism who died in 2014. I began reading Hall’s essays in Selected Political Writings (2017), and soon found that there was no one else with whom I wanted to think about our own moment of political sadism and confusion. Hall put together “discourse,” feeling, and political economy in a single mode of seeing a social world. Of course that is what we need to do; it’s just that it is so hard to do. The best way I have found to attempt it is begin by reading your way into a transient harmony with someone who does it well. So I have read Hall for instruction, and also for the pleasure of thinking on the page.
How should we think about this terrible and confusing time? I learned a lot about how to think about American nationalism from historian Greg Grandin’s The End of the Myth, a study of the continuities between the bloody frontier that was central to the first hundred years of American history and the southern border that has become central today. The country’s edges have always been rallying-points for chauvinism and racism, Grandin shows, and he argues that these nationalist themes have served as distractions from inequality, class conflict, and flawed democracy at home. The border becomes a mirror through which the country sees itself darkly.
Political theorist Corey Robin also gave me a new set of lenses, in this case for the jurisprudence of Supreme Court Justice Clarence Thomas. Thomas is often dismissed—in ways Robin notes are pretty racially loaded—as a lightweight right-wing hack. Robin argues that Thomas actually has a deep and tragic view of American history and the law’s place in it, which centers around the political pessimism of conservative black nationalism. Thomas doesn’t become any less disturbing in Robin’s forceful interpretation, but he becomes far more interesting and emblematic. His politics is fundamentally despairing, and much harm flows from that in his bleak view of law. But, Robin argues, this racial pessimism ironically links Thomas with much of the liberal left, which has learned to deplore the country terrible history and indefensible present injustices without developing a new politics radical enough to overcome them, so that despair feeds on itself.
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This was the year that I gave belated readings to two great studies in the political economy of the present: Ruth Wilson Gilmore’s Golden Gulag (2007), on mass incarceration in California, and Quinn Slobodian’s Globalists (2018), on the ideology and institution-building of neoliberals after World War II. Rather in Hall’s spirit, they make good work of the impossible premise that to understand anything, you must understand everything. To see mass incarceration whole is to understand “the new Jim Crow,” of course, but it is also to understand the regulatory environment of municipal bonds, the condition of unused semi-rural land in post-industrial California, and the development strategies of local officials in the declining hinterlands. To understand the rise of global trade as the vanguard of a world in which “the market” is everywhere and irresistible, you have to understand the theories of politics, law, and government that its architects advanced, and the ways that “market fundamentalism” is not a flight from politics but a tactic for turning political energies to the politics-handcuffing goal of encasing markets from popular resistance, reform, or revolt.
A very different political economy, a weirdly enchanting one, is Bathsheba Demuth’s new Floating Coast, a history of life on the Bering Strait, a harsh place rich in energy—whale blubber, walrus oil, petroleum—and victim of the changing and clashing visions of modernization that the American and Russian empires have visited on it decade after decade. I don’t know a work that better combines love for the strangeness and specificity of a region—like Barry Lopez’s great Arctic Dreams in that sense—with a rigorous account of how world markets and programs of development have torn at and transformed it.
I had a strange year in fiction. Ordinarily I read a clutch of novels—Ferrante was my beloved for a season of eager discovery, and just before this year I binge-read Rachel Cusk—but this time I was immersed in Anthony Powell’s four-volume aircraft carrier of a series, A Dance to the Music of Time (1951-1975). Sometimes called “the English Proust,” Powell actually did something very different in his semi-autobiographical portrait of upper-crust English life from the Edwardian era to the 1970s. One gets little sense of the narrator’s interiority—pace Proust!—except as it is refracted through thousands of pages of close social observation, worked through willfully crooked sentences and jokes that sometimes take a page to work themselves free of the drawing rooms, bars, and hotels where they are taking form. Sometimes a couple of hundred pages would be nearly unreadable, and I’d stall out for a month. Yet it portrays how age and experience change us in the most fundamental ways, by changing who we believe the people around us to be, what we love and admire, and what bores or disgusts us, even what kinds of people we suppose that there are in the world. In these ways, a schoolchild lives in a very different world from an old person, and it changes all along the way, as if the stage on which we act is set by the implicit world-making of our own minds, which we cannot really escape except by living through it. Powell never says this, but he tracks it painstakingly, so that even the limits of the work—dullness here or there, snobbishness everywhere—are folded into its achievement: a portrait of life as the slow planing of soft boards, a self-wasting absurdity that is also our only topic.
It was in that headspace that I found myself reading Evelyn Waugh’s Brideshead Revisited—looking for a sort of light Powell when I couldn’t take the denser stuff, like turning to Pullman from Milton. I didn’t know Waugh when we came across his first novel, Decline and Fall, in a tiny cache of English-language books in Greece last year, and his spare-nobody satire and perfect sentences made ideal beach reading. Brideshead is a strange book, like a religious interlude in the midst of one of Powell’s lives, as coruscating and deft as any of the satires, but walking a drunken path to some kind of mystical Catholicism. Whatever Waugh thought of this book, to me it read like the work of someone perfectly in command of his tools but overwhelmed by his themes, like a master costume-jewel whose workshop has been lifted by a tsunami.
I usually read more poetry than I did this year, but one collection got to me: Ryan Walsh’s Reckonings, which describes growing up in West Virginia, around mines and chemical plants, surrounded by people you love who are dying. There is claustrophobia here, in hollows, big families, and very small towns, but also helpless attachment, which combine in the feeling that you have to get out of the only place you will ever belong. I lent it to my father-in-law, who grew up in the “chemical valley” of the Kanawha River, son of a coal miner. He handed it back not much later. It was too much, he said, to absorb such a fine rendering of such implacable pain.
Writing Back to Guy and Harriet Pringle
I met Guy and Harriet Pringle in the winter of 1987. In those days, Turkish public television had a rather ingenious arrangement with public radio; they would show the dubbed series, and the radio would play the original soundtrack. I do not remember who had alerted me to the fact that a new series called Fortunes of War was to go on air that week, but there I was, placing the radio right under the TV set, turning down the volume of the latter, and shushing the whole family who had gathered in the one stove-heated living room for the winter evening.
I must have been learning English for a couple of months. Being a diligent student and wanting to get ahead in class—I was at the language prep year of a high school that had most of its curriculum in English—I did all I could to fill my head with English words. British Council Library (now defunct), BBC World, and BBC series on Turkish Television. I was doing this "for school" and so my family indulged me as I watched Guy and Harriet Pringle travel through the Balkans and the Middle East. It was a very strange feeling, traveling with them to places that I had been taught used to "belong to us." What kind of connection could a British couple possibly have to lands where songs began with "aman" and the men played backgammon? This, to me, was the central mystery of the plot, and with its very delicate hands Fortunes of War would lead me through the history of the British and Ottoman Empires, in a language that I was only newly beginning to understand. The characters I got to know through its seven episodes have stayed with me, and I still come across their avatars both in England, and the places where the English like to travel. Guy Pringle, Prince Yakimov, Dubedat, Aidan Sheridan…Watching the series again to write this piece, I am once again struck as to how perfect and lean the production is—the acting, the dialogue. (Also, how sweet Kenneth Branagh and Emma Thompson playing the young Pringle couple are—I still resent their divorce).
Fortunes of War was adapted from a series of novels written by Olivia Manning under the titles The Balkan Trilogy (1960-65) and The Levant Trilogy (1977-80). The books were in many ways fictionalized accounts of her travels with her husband Reggie Smith, who worked in the British Council. The story starts with Guy Pringle, having just been married in London, returning with his wife, Harriet, to his English Literature post at the University of Bucharest in 1939, as Nazis are advancing in Europe. We first see a shot of a train traveling through Mitteleuropa, with a beautiful arrangement of a Romanian song in the background that becomes the series’ theme tune, a tune that has accompanied me on the pilgrimages I have made to the Pringles’ various posts. I don’t remember how much of Fortunes of War I understood back in 1987, but I know I absorbed the whole thing like a sponge, and to this day I have déjà vu moments when a place, a song, a bit of a conversation will take me back to the story of Pringles. This could of course mean two things: that Manning was a brilliant observer of character and situations, and/or I have actively been seeking the company of Pringles’ reincarnations and their milieu. In fact, I have managed to do almost all the legs of Pringles’ journey except for Bucharest, where it all begins.
After the shot of the train going through the Balkan countryside, the camera goes inside a compartment where Guy Pringle is sharing a German joke with another, elderly passenger, and Harriet Pringle looks on bemused, setting the tone of their relationship. The atmosphere of camaraderie dissolves when soldiers come into the compartment and ask for the passengers’ papers. The old man claims he has lost his, along with his wallet, and is forcibly removed from the train. Guy gives him all the money in his purse as Harriet looks on incredulously. When Guy explains that the old man is probably Jewish and without papers, Harriet asks what will become of him. Guy’s "What is to become of any of us?" now rings a bit "all lives matter" but I am constitutionally incapable of finding fault with Guy Pringle.
Fortunes of War is, at its heart, a story about people trying to find a safe place to live—only, in this story it is Europeans going eastwards, looking for a place where the war has not yet arrived. The Pringles are hounded by the Nazis through Bucharest, to Athens, to Cairo. But of course, they are among the lucky few who can actually leave. There is a scene that I had not thought about much in 1987 but that has come back to me in recent years. Europeans scrambling to get on a ship from Athens to Cairo to face a perilous journey across the Mediterranean, threatened by German submarines. The Nazis almost catch up with the Pringles towards the end, and the ship Harriet is supposed to have been on from Cairo is torpedoed while she is safely sightseeing in Damascus.
In Bucharest, the Pringles get a flat in one of those turn-of-the-century apartment buildings that haunt world literature like The Yacoubian Building and The Flea Palace. We are in ex-Ottoman territory after all—a fact that the book, but not the series, fleetingly touches upon—and the aesthetic stretches all the way to Bucharest. Like the Yacoubian Building, this Levantine apartment has a rooftop with a shed, which becomes the hiding place for Guy’s Jewish student Sasha, whom they manage to protect only for so long. It is also in Bucharest that we meet Dobson, head of the British Legation, played by the perfectly cast Charles Kay; the stiff upper and lower lip, forever the face of British Foreign Office for me. Guy spends most of his time with his students and rehearsing for Troilus and Cressida, and when we see the poster hanging from the National Theatre in Bucharest, I learn my first (and hitherto only) Rumanian word, "şi," meaning "and." After the performance, dressed as they are in togas, and in heavy stage makeup ready to party, the British contingent in Bucharest learn that Paris has just fallen to the Germans.
The foreigners are leaving Bucharest fast, and one of the more persistent among their number is Prince Yakimov, the embodiment of that class of people that get stranded after the collapse of Empire. A general worldliness of having seen better days, frayed at the edges, almost certainly with an alcohol problem (this will forever link him in my mind with Charles Stringham of A Dance to the Music of time and Geoffrey Firmin of Under the Volcano). It is, however, not quite certain which Empire once claimed Yakimov, rumored as he is to be of Russian and Irish extraction. Yakimov comes to represent "old Europe" and when he hears Paris is fallen looks wistfully and says "Such times we had in Paris,"as if he’s had one of Proust’s madeleines. You want an entire series based on his adventures as a young man. Yakimov, slow on the uptake when it comes to geopolitical awareness, asks all the questions we want to ask and becomes the vehicle for background information. While other Europeans are fleeing, he travels to the countryside to pay a visit to one of his old friends who now works for the Germans, pretending he has information he can sell him.
On his way back to Bucharest, a rich lady in a fur coat tells Yakimov "I go to Istanbul. In Bucharest they shoot you.” Yes, I once thought, here is my moment come, they will come to Istanbul, they will have to acknowledge that I live in the centre of the world. "Lush and Dubedat (two disreputable English teachers) have run away to East-anbul" we hear Pringle say, despairing. They've probably done a stint teaching at my high school, I fantasize. Even Yakimov leaves: "We had a letter from Turkey this morning. Yaki says he’s weighed down with loneliness and kebabs." But Pringle will not let go of his castle. "We represent all that is left of western culture and democratic ideal," he says—a remark my 11-year-old self would have taken as par for the course, but watching in 2018 tastes sour. Back then, I am only interested in seeing them come to Istanbul.
Instead they flee to Athens, and I am heartbroken. But then Harriet goes to the Acropolis and considers whether she can be unfaithful to Guy, who has repeatedly preferred other people’s company to hers through the first three episodes, and her melancholy communes with the Parthenon’s perfect columns. My 11-year-old self vowed to visit the Acropolis one day. And I do. In 2014, after I pay my respects at the Parthenon I look for the Zonar’s Café, and find it is under renovation. Another "site" that is etched in my memory—which I didn’t try to locate—from the Greece episodes is the villa of Gracey, the head of the British School. The Pringles visit this mysterious man in his villa to ask for a job for Guy. The building is perched on a promontory and seems to be populated by life-sized statues. So much of the furniture in my literary imagination has been laid there by Fortunes of War. This villa was the inalterable décor when I read The Magus many years later.
Guy does manage to get the job, but the Germans advance and so the Pringles leave. Surely to Istanbul this time. Or at least to Izmir, which is right across the water. The journey takes forever as Pringle reads John Donne on deck in the inviolable silence as everyone else is terrified about passing German U-boats. The fourth episode finishes. The fifth opens with the sound of the adhan, surely now we’re home, surely now I will see them walk the streets that I walk. But the minarets look wrong. The camera zooms out and we see camels. They have bypassed Istanbul and made straight for Cairo. I feel cheated. People are wearing fezzes, the street vendors are calling out "bordogal" but it gives me no joy.
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Then, Rupert Graves appears, in uniform and with long vowels that seem to have several Rs in them. He is playing Simon Boulderstone, a young officer just posted to Cairo. Harriet explains the lie of the land to him when he protests that he is there for something akin to Kurtz’s redeeming idea:
Boulderstone: We’ve brought them justice, prosperity…
Harriet: Prosperity? Nothing’s changed for them for a thousand years.
Boulderstone: But we’re protecting them now
Harriet: We’re protecting the Suez Canal. The route to India. Clifford’s oil company.
All the discourse you need to know about the Middle East in a nutshell. The liberal position of understanding the political aims of Empire, but remaining blind to any local transformation that might have occurred between the time of the Pharaohs and the British protectorate. But I understand the impact of this much later. In 1987, I only admire the graceful way Harriet climbs the pyramids, making another promise to self to climb them just as she did. By the time I arrive in 2008, tourists are not allowed to climb them at all.
It wasn’t all geography, colonialism, and the erasure of the traces of the "receded Ottoman Empire," as Manning puts it in the book, that I learned from Fortunes of War. It also taught me a lot about a certain kind of relationship, a certain kind of man. "When we first met, you made me feel I was the centre of the universe," says Harriet as they are having a conversation about an affair Guy may or may not have had with a Rumanian woman. "And so you are," replies Guy. "But you make everyone feel like that," answers Harriet. This conversation has often come back to me in the intervening years, when I found myself in the company of a Guy. I think often, also, of the conversation between Harriet and one of Guy’s friends from Cambridge in a café in Alexandria, where Guy is teaching Finnegans Wake at the university, to the two remaining students. Finnegans Wake is a title that would’ve meant nothing to me at the time, but now I think, Alexandria is the perfect Levantine port to teach it, as Trieste was the perfect Levantine (okay, Balkan, if you insist) port that inspired it, with their Babel of languages.
Aidan: Are you waiting for Guy Pringle?
Harriet: Usually, yes.
Aidan: My name’s Aidan Pratt. I’m on leave from Damascus.
Harriet: Damascus? How do you know Guy?
Aidan: Last time I was here somebody told me a story. Two men were shipwrecked on a desert island. Neither knew the other but they both knew Guy Pringle
You know who he’s talking about. Yes, him. The one everyone’s besotted about. The one who organizes the parties and is great in a crowd. Also he whose magnanimity gets him or those around him into trouble. The two Palestinian Jews that Guy recruits to teach at the American University of Cairo turn out to be assassins. I wonder if I paid any attention to the identity of the assassins when I was watching in 1986, but now the subplot seems to be that they might have been related to the Irgun. This is how the Pringles discuss the event:
Guy: The whole thing’s ludicrous.
Dobson: This is the Levant after all.
Harriet: You used to say that about the Balkans.
Watching now, this conversation seems like the coda to the series, a sentiment that falls in line with my initial reaction to seeing these people that really belonged in a Merchant-Ivory production traipsing about in my lands. From Bucharest to Alexandria, I am or know every "native" they speak to. From the demurely made-up middle class women around the dinner table in a banker’s home in Bucharest (several aunties come to mind), to the wistful man in Damascus trying to explain to Harriet the meaning of hijab…When the latter happens, I am at the edge of my seat, thinking, "He’s botched it," as I often do nowadays, not least when I am the one trying to explain. I was 11 when I watched the scene, and I would have years, a decade to think about it, to work out the perfect explanation, before I would be released upon the English speaking world:
Harriet: You can’t make men chaste by keeping women out of sight
Damascene Man: You are an unusual lady, you have a mind of your own
Harriet: Where I come from it’s not unusual
“But I have a mind of my own too,” my 11-year-old self shouts. “Just you give me time and I’ll come to England and talk to you about how it is not unusual where I come from, either.”
Everyone has their demons. Watching the series again I realize I have spent my entire life writing back to the Pringles.
A Year in Reading: Lydia Kiesling
My dad lives in Greece and this September we took the baby who is no longer a baby there for a visit. I was vaguely dreading the trip, even though I love Greece and miss it dearly when I'm not there, which is most of the time. I didn’t want to be so callous -- or to appear to be so callous -- as to go on vacation to a country experiencing a refugee crisis with the express intention of avoiding the crisis. “We are visiting family,” I told people preemptively.
When we arrived I was surprised to see that everything looked eerily normal in my old Athenian haunts and on the island where we spent most of the trip. But while we were there, this article came out, and I was reminded that if you are not seeing the bad thing it is because someone doesn’t want you to see it, whether that someone is yourself or a group of politicians and others with whom you willingly or unwillingly collude. So we colluded, and had a nice time, and sat on a beach watching Italian package tourists doing group calisthenics, and the men we saw selling plastic clips and doodads on the beach were not refugees, or not new ones -- perhaps they were born elsewhere; now they spoke with one another in perfect Greek. During naptime I read Fates and Furies and Swing Time and Transit, and it felt like a sin to enjoy them all like I did.
Later I read Exit West, Mohsin Hamid’s forthcoming novel about the refugee crisis -- a novel the surreal elements of which are only as surreal as the things people are facing in Syria and Iraq and Greece and points beyond. It’s a haunting yet spare and somehow efficient book that describes how quickly the conditions of ordinary people can change, and how few reasonable options those people have once events are in motion. I read the novel months after reading this unsparing article about the people who have been preparing for the (increasingly unlikely) day when Bashar al-Assad might be called to account. On Twitter, I see pictures of mortar-blasted infants and bloodied strollers on the ruined streets of Aleppo.
I have been thinking about collusion, and bubbles, and things seen and unseen. After Greece I read Negroland, in which Margo Jefferson describes upper-middle class black families whose class bubble was insufficient defense against the effects of whiteness:
Caucasian privilege lounged and sauntered, draped itself casually about, turned vigilant and commanding, then cunning and devious. We marveled at its tonal range, its variety, its largess in letting its humble share the pleasures of caste with its mighty.
I read about her relatives who took the course of abdicating and living as white people, functionally erasing whole parts of their lives: “When Uncle Lucious stopped being white, my parents invited him to dinner,” Jefferson writes.
After the election I read a series of astute tweets I wish I could find now about how liberal white Americans approach their lives with the same unfortunate tactics as illiberal ones; that is, they create their own enclaves and wall themselves off from elements they find unsavory. My deceased grandparents lived in a California county with a population of two people per square mile, and 71 percent of those people voted for Donald Trump. The last time we drove the hours and hours to get there I saw a huge “Kafir” flag on a lonely homestead, someone’s warning to would-be jihadists who might find themselves in the goddamned middle of nowhere, U.S.A. I try to picture life there now and experience a failure of imagination. I read Where I Was From, Joan Didion's great California book on the "vexed issue" of "a birthright squandered, a paradise lost," the illusion of which seems to animate so much of the white American psyche. (Even her investigation stops a few hundred miles short of that high-desert plain.)
Since coming aboard The Millions I feel like I know the titles of more books than ever before, while actually reading fewer books. I hate this. Partly it’s because I no longer have a commute with a daily designated hour for reading, but really it's because I stare too long at my phone. Nonetheless, sometimes conditions and moods and books coincided to make memorable reading experiences. Before I quit my job I read Grief Is the Thing with Feathers over a single day's commute and wept into my jacket on the train. Over Thanksgiving, while talking heads brayed horribly from the television in my in-laws’ kitchen, I read a new edition of The Haunting of Hill House with Laura Miller’s introduction. I have the best couch in the world; on it I read Here Comes the Sun and The Last Samurai and Queen Sugar and Housekeeping and Void Star and Gold Fame Citrus over the course of precious, orgiastic pig-in-a-blanket afternoons. My husband found me bawling as I read the final page of the latter -- in addition to being a warning for the planet, I can’t think of a novel that better captures the bruising horror of loving small children.
Every year I seem to read about bereaved parents. I read this beautiful essay about a random, preventable disaster, and I read this article about an inevitable one. I've fixated cruelly on the family in the second piece. I tell myself Jesus doesn't want me to politicize the death of a child, but everything is inflected by politics lately, and the rancor of a walled-off elite like myself for my non-elite white brethren is at its zenith. The rancor extends both ways, obviously; I read this heartbreaking article, and subsequently learned there are benighted people who believe it's part of a vast liberal hoax. After watching Alton Sterling’s son weep next to his mother onscreen I read Citizen -- its cover an homage to another dead child -- aware that I was showing up late and unprepared, more colluding.
I felt late and unprepared again after the U.S. election, and I read this essay by Uday Jain, his reminder that “there is no single...story where if we just do this, this, and this, things will be fine.” I have been thinking about Jain’s lovely formulation:
When one gives up on being a Rawlsian, absolutely transparent to oneself, perfectly good in one’s own life, autonomous liberal subject -- one gains the Platonic, the feminist, the Marxist sense of a self as constituted essentially by interdependence. I am not an individual. I am the voices and affects and legacies and bodies of everyone I’ve ever read, talked to, befriended, and loved; their parents and grandparents; the dead. Solidarity consists in this refusal of individuality -- and simultaneously the maintenance of difference that makes interdependence possible.
I have wondered how to reconcile my interest in literature and my sense of it as a fundamentally bourgeois chronicle of individual concerns -- my Of Human Bondage, my The Sea, the Sea -- with the solidarity Jain describes. I don't understand exactly how literature works with politics; perhaps the answer for now is simply that literature is one of the most pleasing and enduring ways of capturing those voices and affects and legacies. Currently I’m reading Yiyun Li’s Dear Friend, from My Life I Write to You in Your Life; I dog-eared the page where she writes “Every word one writes, every dream and fear and hope and despair one reveals to others and to oneself -- they all end up like chicks refusing to be returned to the eggshell.” (The chicks she mentions are dead, so it's not super-hopeful, but what a line.)
I can’t stop worrying all these things between my teeth. My mom says I have to log off and tune out and I snarl at her, as though everything is her fault. I feel calm when I reread A Dance to the Music of Time. In volume one I found a torn-out poem from The New Yorker by Adam Zagajewski -- "Erinna from Telos." (I like the Claire Cavanagh translation that ends with “grasshopper” and not the one on Google Books that ends with “cricket.”) The poem is about death and art and history; my mother, Miss Cheer-Up-Charlie, is the one who tore it out of the magazine (she, by the way, exclusively reads morose novels by Eastern-European intellectuals). But I wonder if she has a point when she chastises me: if there is any value in feeling sad, any point wallowing in rancor, if you are not going to be good. If you are going to know about those bloody strollers and continue to go about your business.
Because I am going about my business, in spite of reading all these miserable things. The day after the election, I saw the faintest of faint lines on a pregnancy test; it disappeared within a few days, as though the egg, while trying to settle in, had been warned off by troubled vibes. This was less demoralizing than it might have been if I didn’t have a small child to parent. She just turned two, and she says, “Mommy Mommy Mommy Mommy,” and I answer, “Yes Yes Yes Yes.” She loves our cats, and she pets them and kisses them until they scratch her, and she says “scratchoo” and begs me to put a “benden” on the wound. From her I learned about that thing that Zadie Smith calls “joy” in something else I read this year:
Occasionally the child, too, is a pleasure, though mostly she is a joy, which means in fact she gives us not much pleasure at all, but rather that strange admixture of terror, pain, and delight that I have come to recognize as joy, and now must find some way to live with daily. This is a new problem.
Once you feel joy you can’t unfeel it; I’m fiending helplessly for more. The polar ice is melting, but I want to hold another baby. I feel like the grasshopper who sang all summer.
More from A Year in Reading 2016
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Love and Work: Anthony Powell’s ‘O, How the Wheel Becomes It!’ and ‘Venusberg’
Love and work are the subjects the British novelist Anthony Powell covers in O, How the Wheel Becomes It! and Venusberg two slim novels, recently reissued by University of Chicago Press, which bracket his monumental 12-volume Dance to the Music of Time, written over the course of almost 15 years, from 1957 to 1971. Still relatively lesser known in the United States, the Dance series is one of the great achievements of 20th-century literature, and perhaps the greatest portrayal of (mostly upper-class) British life from approximately the 1920s through the 1960s.
In his introduction to Venusberg, which Powell published in 1932 when he was only 27, Levi Stahl astutely notes the differences between Powell and the author whom he is often thought to resemble, Evelyn Waugh. Both wrote about the educated upper classes and had enormous skill at skewering their pretensions and obsessions. But where Waugh was highly self-conscious of his status as an outsider and desperately wanted to be included among his subjects even as he savaged them, Powell developed a different style. He writes more as an insider but one removed from the social whirl by almost incomprehensibly sensitive social antennae. “Waugh’s books are arguably funnier (though some sections of Dance hold their own), but they also have an angry, cruel, even nihilistic strain. Waugh’s satire is scorching, leaving little behind but blasted ground. Powell, on the other hand, while refusing novelistic happy endings, presents a more hopeful outlook: his early novels tend to include at least one character who yearns, if fitfully, to live a life with meaning.”
The Brit abroad novel in this era of Brick Lane and a multiethnic Britain may seem the most tiresome of tropes. Moreover in this era of YouTube, cell phones, and Snapchat, the possibility of real strangeness or feelings of isolation in foreign travel are almost impossible to recover, in addition to the sometimes unpleasant colonial overtones some such novels evoke. In Venusberg, however, the charm and humor of such a setting comes through, even as Powell searches after deeper themes. Venusberg is the name of a hapless Baltic town to which the main character, a writer named Lushington, goes purportedly on assignment. In fact, he is running from a woman, Lucy, whom he loves but who loves another. Lushington’s fellow travelers are refugees from their own sort of romance, homes, and countries they left or were forced to leave (or as is the case with a mother and daughter traveling together, a Habsburg Empire that is no more.)
The long boat trip gives Powell the opportunity to indulge his finely tuned sensibilities to differences in class, wealth, and station, and to develop what Stahl describes as “his remarkable talent for grotesquerie,” though one leavened by a humane sympathy. Thus his protagonist finds among the passengers a disaffected (and possibly fraudulent) count and others thrown about by the disaster of post-World War I Europe. Included among these is Ortrud Mavrin, a married Austrian woman with whom he begins an affair. Inevitably, Lushington befriends her husband, an older professor, with some comic results. Once in Venusberg, he becomes entangled with a member of the British diplomatic delegation, da Costa, who is his rival for his Lucy’s affections. Other figures include the valet Pope, possibly fake Russian aristocrats, and various nobles, soldiers, businessmen, and bureaucrats who operate in a semi-totalitarian political environment.
The love story that is the moving plot of the novel focuses on whether Lushington will continue to pursue his indifferent object of affection at home, or follow Mavrin, the European lady of mysterious background. This is perhaps a metaphor for British writers seduced by European modernism (which Powell by and large was not), or more generally the exoticism the Continent held for many British. Venusberg is, in legend, a place of seduction that captivates its admirers who must tear themselves away to return home, and the tension in the novel is how, or whether, Powell will have Lushington make the break.
Wheel, the first novel Powell published after completing Dance, has a decidedly smaller geographical ambit, but a much longer temporal one. Powell excels at the long arc; what makes Dance most compelling is the realistic way Powell describes aging and the passing of years, with all the sexual, professional, and social triumphs and disappointments those years offer. Powell makes us feel both weighted with the passage of time and also satisfaction at the unfolding of full adult lives, which I think is perhaps Powell’s real lasting literary gift.
Wheel follows a writer and critic named G.F.H. Shadbold and the petty and at times absurd world of literary culture. Powell knew this world well, and his send-up of literary pretension is classic. Shadbold is haunted and embarrassed by the memory of a half-forgotten novel of a dead man whom we would now term a “frenemy,” a schoolmate turned stockbroker named Cedric Winterwade. Shadbold has himself becomes something of a middling literary figure, with early promise but who chose instead a more certain if unimaginative career; after “the slimmest of slim volumes of verse,” and some indifferently-received novels, Shadbold settled into something like literary respectability.
Notwithstanding the comparative leanness of his output Shadbold was not to be dismissed as a lightweight, a mere hack. He has worked hard reviewing other people’s books up hill and down dale, tirelessly displayed himself on the media and elsewhere…[and] also always prepared to offer views on marginally political subjects for which he was less accredited by instinct.
Shadbold married a writer of potboiler detective novels, who is much more successful than he. However, Winterwade comes to dominate his thoughts. Shadbold learns Winterwade kept a diary in which it is revealed he was the more prodigious lover when they were younger men together, including having an affair with a woman Shadbold himself desired. This revelation raises old feelings of sexual jealousy, even after a remove of years, especially when the woman, Isolde, comes back late in Shadbold’s life; in the process, he learns Winterwade was in some respects a better man than he. Moreover, Winterwade’s literary fortunes are rising on the basis of that one novel, decades after his death. Winterwade retains the promise of young man cut down before his prime, while Shadbold must struggle with the realities of a writing life that has its share of grubbiness and self-promotion. Isolde pleads with Shadbold to help resuscitate Winterwade’s reputation.
Stahl is right that neither of these books is likely to eclipse the magnificent work that is Dance. However Venusberg is valuable because we see Powell working out perspectives that would later form the basis of Dance in the form of the novels’ narrator, Nick Jenkins. But it is the work of a young man and some of the dialogue and scenes, while surely sharp at the time, do not carry the same resonance today. But for those not yet ready to tackle Dance, Wheel is a work of the mature Powell, very sensitive to those unforeseen changes in fortune or circumstance that occur throughout life and which give the book its title.
Portrait of the Artist as a Young Mutt: On Patrick Modiano
1.
I remember when I began to hate Patrick Modiano. It was in November, 1978. Lingering at the newsstand next to the old Arts Cinema in Cambridge, England, waiting to catch a matinée and leafing through the latest copy of the magazine Le Nouvel Observateur, I came across a photo that soured my entire day.
I’d begun to teach myself French some six months earlier, having had a useless three years of it in high school, and another wasted two semesters in college. I’d learned nothing. Rien. So looking through French news magazines was a bit of an ego boost. The articles and captions were as simple to follow as Monsieur le Président Valéry Giscard d’Estaing’s very slow and deliberate delivery before he faded into obscurity.
There Modiano is, smiling at me, gloating over his newly-crowned Prix Goncourt novel Rue des Boutiques Obscures (Missing Person), seeming to say, “Mon ami, you are a loser,” while a bank of excited press photographers crouches to capture his image. He had good hair, he was young, I had good hair, I was young, but my career as a published author was still a few very long years away. I had travelled 3,000 miles to make a career for myself, and here I was, looking at the face of success. And so, privately, without any basis in reality, without having read a single word by him, I turned my wrath upon Patrick Modiano. What is it Gore Vidal used to say? Whenever a friend succeeds, a little something in me dies. I’d reached the stage in which total strangers were flaying me alive.
The damage wasn’t permanent. Having lingered far too long over Voltaire and Guy de Maupassant and Alphonse Daudet’s incredibly tedious Tartarin de Tarascon, I needed something contemporary to challenge me. At the time I’d been doing a good deal of research into the German Occupation of Paris for a novel that in fact became my first to see the light of publication, and Modiano’s work, being set during that period, was suddenly back on my radar screen. I picked up a copy of his first novel, La Place de l’Étoile, set during the Occupation of Paris and published when this wunderkind was barely into his 20s. It has just been issued in English in what the publisher calls The Occupation Trilogy: three titles, three different translators, each set during the time of the German Occupation: the ground zero of Modiano’s body of work, the foundation for everything that will come after, though after these three titles the Occupation will stand always at an angle to his novels, a shadow cast over the succeeding volumes of what is, even by his own estimation, really a single, long work. When he faces the Occupation head-on once again, it’s with Dora Bruder, his masterful nonfiction (and to some extent autobiographical) story of a missing Jewish girl and the author’s attempts to understand her fate and give her a second life.
2.
Unlike Marcel Proust’s great novel, and unlike the romans fleuves of the last century, such as Anthony Powell’s A Dance to the Music of Time, Modiano’s work, including his most recent novel, Pour Que Tu Ne Te Perdes Pas Dans Le Quartier (So You Don't Get Lost in the Neighborhood), released in France just before he was awarded the Nobel Prize, is more a series of incremental epiphanies on the past, on lost opportunities, on lost people, on the small gaps in memory that leave his narrators and protagonists in a world from which they are one step removed. The language in the later books is uncomplicated, and what the author leaves out is as important as what he puts on the page.
What readers find most audacious about La Place de l’Étoile is how intimate the writing is. To deal with a period in which one never lived, to make a leap of imagination and bring the voice of the past vividly and credibly to life, is very much a part of what being a novelist is. But the difference between the historical novelist -- who, in adding facts and details and color in hoping to contextualize the fiction, inevitably distances the readers -- and what Modiano does in this trilogy is to lend an immediacy and an intimacy to the muddy tide of those years, catching the language, the flow, the Zeitgeist of the period without once having to step back to situate us in the narrative. Since La Place de l’Étoile I haven’t stopped following Modiano, reading each new volume as it’s released, and celebrating his being awarded the Nobel Prize in Literature. My apologies, monsieur. My rancor was entirely misplaced.
3.
The title, La Place de l’Étoile, the epigraph informs us, comes from a Jewish story:
In June 1942, a German officer approaches a young man and says, “Excuse me, monsieur, where is the Place de l’Étoile?” The young man gestures to the left side of his chest.
The Place de l’Étoile is both a famous square in central Paris and the place on the body where Jews under the German Occupation were required to wear the Yellow Star, the word juif sewn inside it, over their heart. Modiano had begun writing this in the summer of 1966, when he was 21, and the manuscript was handed to the redoubtable French publisher Gallimard by the great Raymond Queneau, who had been a friend of both the young author and his mother, the Belgian-born actress Louisa Colpeyn. (All autobiographical details are drawn from Denis Cosnard’s indispensable Dans la Peau de Patrick Modiano, published by Fayard in 2010 and not yet available in English translation.)
It was eventually published in 1968, when Modiano was 23 (though everyone believed he was only 21; for several years, out of homage to his late brother Rudy, he had claimed his year of birth as 1947) and it made of him an instant literary phenomenon. As with his second novel, Night Watch, the main character exists in the slippery surreal space of Occupied Paris, where identities shift with one’s loyalties, often vanishing behind several aliases. Modiano makes vividly clear what the German Occupation meant to the French: it was never an unambiguous us-versus-them situation; some openly collaborated with the Nazis, others courageously resisted. And then there was that cloudy intermediate no man’s land occupied by those who played both sides: serving their French masters one day, placating their German ones the next, and that’s where Modiano’s novel is situated. It’s an audacious, ambitious, risky work, especially for a young, first-time novelist, for he was writing in the voice of a Jew who is working with the French Gestapo. This is an author who launched a career by decidedly not playing safe.
Modiano did not come unprepared when he set out to write that first novel. It was in his genes from the start. As he relates in his sort-of-life (to borrow Graham Greene’s title), Pedigree, translated by Mark Polizzotti and just out from Yale University Press, his father, of Italian-Jewish parentage, had been enmeshed in the two worlds that Paris became after 1940, and because, like a virus, the Occupation and its hazy aftereffects had remained long after the last German had left the city, the young Patrick had been drawn into a life filled with colorfully disreputable characters who lingered on into postwar France: real people who drift in and out of his novels (from Night Watch: “I have invented nothing. All the people I have mentioned really existed”): phantoms from a lost world, the displaced many who had done their worst during the war only to find themselves surviving in a self-imposed purgatory, swinging between doomed love affairs, petty crime, the company of faded movie stars, smarmy bands of South-of-France gigolos, and the melancholic regret of Russian émigrés; the comforting oases of rose-tinted, cognac-softened memory. Like them, Modiano’s father had played both sides: dealing with the gangsters of the French Gestapo, endlessly cutting deals on the black market, and refusing to wear the yellow star required by German law. Albert Modiano was neither here nor there, neither one thing or another, a creature of the night forever on the make, a man of such intense self-regard that he could simply cast away his children like so many business deals gone sour.
[caption id="attachment_79064" align="alignright" width="224"] Albert, aka Aldo, Modiano[/caption]
As he describes it in Pedigree, Modiano was essentially abandoned by both his parents, “like a mutt with no pedigree,” as he puts it: his mother was consumed with her life as an actress and treated her eldest child like an accessory, a thing that could be left wherever to be looked after by others, and his father showed him more or less open disdain. It was what bonded him to his brother Rudy, who died at 10 of leukemia, and of whose death he heard as a kind of casual aside: “On the road to Paris, my Uncle Ralph, who was driving, pulled over and stepped out of the car, leaving me alone with my father. In the car, my father told me my brother had died. I had spent the afternoon with him the previous Sunday in our room on Quai de Conti. We had worked on our stamp collection.” As he also writes in Pedigree, “Apart from my brother, Rudy, his death, I don’t believe that anything I’ll relate here truly matters to me.”
4.
La Place de l’Étoile (translated by Frank Wynne) is as much a novel about language as it is about the narrator, a kind of EveryJew named Raphaël Schlemielovitch, “the Indispensable Jew,” “the official Jew of the Third Reich,” as he calls himself, who is identified with all the famous Jewish authors who preceded him, most notably the half-Jewish Marcel Proust. It’s a Céline-esque spew of a narrative, full of pastiche and alive with the bile and dark wit of a man who has sold his soul to the worst of his generation. It’s a journey to the end of a nightmare set in a time when trust becomes an item to be retailed, along with names and reputations, to the highest bidder, almost always someone with solid friends in the Occupationist hierarchy. It’s a world in which once-loyal French men and women are sucked into the gravitational pull of the collaborationist universe, like the young Lucien in Louis Malle’s film Lacombe, Lucien, with a script by Modiano, where the temptations of power and the ratatat of automatic weaponry are eerily close to what is happening today with young Westerners being drawn to the barbarism of ISIS.
This dreamlike narrative allows notorious anti-Semitic writers such as Louis-Ferdinand Céline to be identified as Jews, where Sigmund Freud gets to quote Jean-Paul Sartre, and Franz Kafka is the elder brother of Charlie Chaplin. At one point the narrator relates a little side story that is also firmly based in family lore:
His own father had also encountered Gérard the Gestapo. He had mentioned him during their time in Bordeaux. On 16 July 1942 Gérard had bundled Schlemilovitch père into a black truck: ‘What do you say to an identity check at the rue Lauriston and a little spell in Drancy?’ Schlemilovitch fils no longer remembered by what miracle Schlemilovitch père escaped the clutches of this good man.
In Pedigree the author writes of his father telling him about his arrests during the Occupation, and his sheer good fortune in escaping deportation to Auschwitz:
And he told me of a second arrest, in the winter of 1943, after “someone” had denounced him. He had been brought to the Depot, from where “someone” had freed him...He said only that the Black Marias had made the rounds of the police stations before reaching the lockup. At one of the stops, a young girl had got on and sat across from him. Much later, I tried, in vain, to pick up her trace, not knowing whether it was in the evening of 1942 or in 1943.
The “young girl” in question was Dora Bruder, the subject of one his most celebrated works. Albert Modiano managed to escape; her future was, of course, much more horrible.
La Place de l’Étoile is a journey into the mind of a man firmly screwed into the darkest period of 20th-century French history as told by the Marx Brothers. But it’s also a way for the author to attempt to come to grips with what his father did during those very dark times. Without some knowledge of the leading lights of collaborationist Paris some references will seem obscure, and the footnotes are either unhelpfully sketchy or simply wrong: the banker and embezzler Alexandre Stavisky, appears here as “Stavinsky.”
These three novels gathered into a single volume constitute the primal stew of all of Modiano’s books. Shifting loyalties, hidden identities, and missing people regularly appear in a body of work that is so remarkably consistent that, taken as a whole, they seem to be one long novel.
The narrator in Ring Roads, the third of this so-called trilogy -- published in Caroline Hillier's translation, but newly "revised" by Wynne -- a hack writer named Serge Alexandre, is caught up in what he calls a “hopeless enterprise” in trying to track down his father. In doing so he has to descend into the dregs of society: “Pornographer, gigolo, confidant to an alcoholic and to a blackmailer...Would I have to sink even lower to drag you out of your cesspit?”
This novel sets the central theme of all of Modiano’s work: the search. In Ring Roads it’s for his father; for the amnesiac protagonist of the Goncourt-prize winning Rue des Boutiques Obscure (available in translation as Missing Person) it’s for himself; and this search, so different from that of Proust’s great novel, establishes the groundwork for all of the work that follows, though stylistically we won’t see another like La Place de l’Étoile again. After this, and the second title in the volume, Night Watch, to a degree an early version of his screenplay Lacombe, Lucien, his work grows increasingly more spare, achieving what the French call Modiano’s petite musique, this allusive, elusive approach to writing that has not only marked his novels, but also his speech. Watching filmed interviews with him (most notably with Bernard Pivot, host of Apostrophes), one hears him respond with maybe a few words, frequent ellipses, and sentences that simply trail off without conclusion. The unsayable is as powerful as the words surrounding it.
Though after Ring Roads the Occupation remains in the background, what follows are works of short fiction that examine not just the themes of loyalty and deception, but also the temperament of a series of young narrators who could be thought of as Modiano himself. Taken as a whole, and as a work-in-progress, his body of work is about perception, deception, disappointment, and discovery, borrowing from the conventions of the detective genre.
For those coming anew to Modiano, reading Pedigree first might be a wise choice. His life, such as he tells it here, is as extraordinary and as bizarre as the situations of his fiction. The fact that Pedigree was published 37 years after the publication of La Place de l’Étoile says much about Modiano’s famous reticence about his family and background, on which, until then, he had been notably elliptical. His childhood had been a remarkable one, and by today’s standards it would have been considered borderline abusive. The lack of parental involvement and even interest in Patrick’s well-being is astonishing, and his bitterness is understandable. But it also goes a long way to show what made him a writer.
As the writer Jenny Diski wrote in a recent essay for the London Review of Books, a memoir is “a form that in my mind plays hide and seek with the truth.” Such is the universe of Patrick Modiano.
A Year in Reading: Lydia Kiesling
I don't know when this entry will run, but I am writing it on a Friday, and I'm supposed to have a baby on Tuesday. I've been home since Wednesday, prowling around the house -- if a very pregnant person can be said to prowl -- feeling lumpy and alert and expectant. It's safe to say I'm weirding out a little. For weeks I have been in the grip of so-called nesting hormones, which are real, and which remind me of being in college and taking other people's adderall to finish a term paper, except the term paper is cleaning baseboards, or finally buying a decent set of towels after reading a lot of information about what makes a towel nice, or creating tasteful yet affordable shared adult/baby bedroom decor out of an old calendar and 12 discount frames from Amazon. I've been reading a lot of Amazon reviews, so many that it doesn't feel like I've read much of anything else.
But that's not true -- I read a book of essays by Nora Ephron. And I read this article in Harper's, about squadrons of elderly people living in campers and humping merchandise through an Amazon warehouse. Nora Ephron feels bad about her neck; I feel bad about my ankles, and my strenuous participation in late capitalism. I feel bad about the number of huge cardboard boxes filled with tiny things I've gotten from Amazon. I don't want to buy any more things from Amazon, but I don't know how I will get my cat litter, or new hooks for my shower curtain, or a tiny dehumidifier that fits in a closet, or a ceramic space heater with automatic shutoff and remote control so the baby doesn't freeze in our cold little house. I don't know where I will read 400 earnest assessments of which Pack and Play is the best Pack and Play. Did I mention I'm weirding out a little?
Speaking of late capitalism, last week I read four children's books by Beverly Cleary, because I have been thinking about what it means to have a family and to be middle class and the Ramona books feel like a portrait of a kind of family and life that is maybe on its way out in America. I read select passages from The Chronicles of Narnia to get in a more cheerful frame of mind, but not The Last Battle, because that's the one where everyone dies. I read the first few pages of Renata Adler's Speedboat because people are always talking about it on Twitter, but I didn't understand what was happening and I took a break and then accidentally returned it to the library. I read some stories by Julie Hayden, and want to read more, but there aren't very many to read. I read Rabbit, Run, which I had always assumed that I'd read and it turned out I hadn't, and which I probably shouldn't have read while nine months pregnant since it depressed and angered the hell out of me.
I read Invisible Man. I read Austerlitz. I read The Patrick Melrose Novels and was not as charmed as I had hoped to be. I read new things, The Good Lord Bird and Life After Life and The People in the Trees and Dept. of Speculation. I read Americanah over a blissful Easter Sunday, which I spent in bed eating popcorn in an empty house. I read Station Eleven over the course of a blissful regular Saturday, with my cats and my blanket. I read Thrown, which filled me with envy of people who are professional writers. I read Submergence. I re-read Dance to the Music of Time and The French Lieutenant's Woman and Howards End and everything by Donald Antrim. I read small parts of a vast number of books about pregnancy and babies and felt overwhelmed with details regarding the cervix. I read all of Labor Day, because Edan is in it, and I found most of the entries frankly alarming, but less so than the comments on BabyCenter. I read a lot of studies about what the numbers on a nuchal translucency mean, and many opaque articles about Fetal Alcohol Syndrome.
As with every year, there were a lot of things I wanted to read and didn't. I didn't read anything by Norman Rush and I didn't read anything by Ivan Turgenev or Katherine Mansfield or Karen Russell or Ben Lerner.
There were a lot of things I wanted to write and didn't. I didn't write an essay about my great-grandmother Vera. I didn't write my Anita Brookner reader, or an essay about late capitalism, or a novel. Parenthood, as far as I know, is not a condition characterized by increased productivity, so I don't know what will happen to these plans in the new year. I will say I have found pregnancy, for the most part, unexpectedly generative and wonderful. I mean, obviously, it's generative, but I mean generative of things other than blastocysts and embryos, or of strong feelings regarding towels. I mean of thoughts about life and books and writing. The first real things I ever wrote I wrote after I met my husband and fell in love; maybe loving a new person will open other horizons. Maybe it won't. It's impossible to say. For now I'm just weirding, watchful.
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Modern Library Revue: #43 Dance to the Music of Time
1.
On July 17, I walked down the hill from my office to the train station at the end of the work day. It was one of those days when all of the news was bad. The airliner had been shot down with 298 people because some monstrous clown, some flak jacket-clad cretin with a weapon bigger than his brain, had picked the wrong dot on the radar screen. Israel had invaded Gaza; the preceding day’s New York Times showed the mangled doll’s body of a little boy on a beach. I am not normally a person who is unduly affected by the news, mostly because to date I have had the good fortune not to be the news. Events happen swiftly and far away and are immediately knitted into the infinite scarred and knobby human carpet, forgotten by people who are lucky enough not to get knitted up with them. But that was a day when the news was bad enough, and coming fast enough, and seemed so dictated by stupidity and malevolence and bad luck, that it occasioned one of those low, dark, what-is-the-fucking-point afternoons that even people who enjoy a supremely placid existence can sometimes experience.
It’s now hard to recapture the profound sense of dejection I had as I crossed over the moribund little creek that bounds the campus where I work. But I don’t think I will ever forget the moment, as I considered what shit things are--what everloving, unjust, miserable shit--when I had what I can only think of as a religious experience for the reading unbeliever. Instead of Mary or Jesus or anybody, I suddenly thought only of Anthony Powell, whose beautiful Dance to the Music of Time I was then rereading, and felt an overwhelming sense that this is really all we get--that if everything else is taken away, the beauty of someone’s vision of the world is our meager but abiding solace for being in the world.
Powell himself understood the feeling, I think, when he concluded his masterpiece with a passage from Robert Burton’s Anatomy of Melancholy:
I hear new news every day, and those ordinary rumours of war, plagues, fires, inundations, thefts, murders, massacres, meteors, comets, spectrums, prodigies, apparitions, or towns taken, cities besieged, in France, Germany, Turkey, Persia, Poland, etc., daily musters and preparations, and suchlike, which these tempestuous times afford, battles fought, so many men slain, monomachies, shipwrecks, piracies, and sea-fights, peace, leagues, strategems, and fresh alarms.
What had I been feeling that day, but the fatigue of those ordinary rumors, those massacres and meteors and fresh alarms?
Days later I read the poet Edward Hirsch on the loss of his son, and found a solemn counter to my religious experience: “People are irreplaceable, and art, no matter how good, doesn’t replace them. It took this tragedy for me to feel that.” A revelation like mine is undoubtedly a luxury of unruffled circumstance, like not being the news. But after working my way through Dance to the Music of Time, and then through Michael Barber’s biography of Powell, I do feel that there was something appropriate about the vision of St. Anthony that visited me that dark afternoon.
2.
The great Islamic historian Marshall Hodgson, who began the magisterial Venture of Islam and expired at 46 before he could complete it, inscribed a theory of humanity in an essay about his mentor, the Viennese Orientalist Gustave von Grunebaum. According to Hodgson, a fiercely devout Quaker, the beauty of whose ideas was often obscured somewhat by the thickets of his prose, people fell into three camps. There were the militaristic ones, “those who look to glory, to honor—to a noble death. Such will rather see Plataea destroyed altogether than yield to Thebes.” Then there was the “Party of Culture." For these people, "a greater tragedy than the defeat of Athens at Syracuse was the powder explosion in the Parthenon.” Finally, there was the "Party of Justice," the party which, "from Hebrew times on, has felt the community tainted by a single act of iniquity.” Hodgson believed that the Culture people were interested in justice and fairness only so much as those things were "the natural functions of a highly cultivated human being." But the Justice people were the ones for whom "the essential is the citizen, the son of Israel, the individual soul—however stupid, however narrow-perspectived he may be."
Although, like everything Hodgson wrote, it takes a few turns with the essay to understand what he’s talking about, I don’t think I’ve read a more apt division of the main strains of human temperament. I’ve never recognized myself so fully, at any rate; I’m the Party of Culture all the way--I like heritage preservation, elegant talkers, and people who stand to the right on escalators. The good guys, the ones who never turn away from a homeless person, the ones who get out the vote and speak truth to power and read the news and do something about it, those are the Justice guys. (The Military guys are the stand-your-ground types.) And for us Culture people, us shallow feelers, those for whom profound religious sentiment and unconditional love of fellow man are elusive, for whom exquisite artistic expression represents the pinnacle of human achievement, Anthony Powell is an ideal patron saint.
Powell, of whom one critic said there was “no pity and very little indignation," is remembered by some for snobbishness and bloodlessness and conservatism--he "blamed the ‘tiresome Edwardian Liberalism'" of Forster and the Bloomsbury Group "for the sorry state, as he saw it, of the modern world." In this he differed from his friend George Orwell, a Party of Justice man if ever one there was (artists are not always Party of Culture people--consider Dostoevsky, O'Connor, Gaudi). Powell's unofficial biographer, Michael Barber, quoted Julian Symons in describing the way that Powell and the journalist Malcolm Muggeridge would lure Orwell into “wild flights of political fancy" over their regular lunches, goading him to express opinions they found absurd, e.g., that the Labour Government should "try to convert the British electorate to the idea that they should accept a lower standard of living in order to get rid of the evils of colonialism.”
Powell wasn't a Culture man only because he married a wife with a title and lived in a house with a drive. While he was known as an unrepentant Tory who admired Margaret Thatcher and disdained reflexive bearded leftists, his books indicate that his artistic politics were always more deeply felt than his mundane ones--that people with humor and style and humanity would always be greater allies than anyone who simply occupied the same end of the political spectrum. And the novels of Dance are overwhelmed with evidence of his supreme reverence for art. The way his narrator Jenkins sees the Belgian allies with whom he works, in the context of a Flemish painting. Or his long, playful, intense, cherished conversations about books and music and paintings with his friends Barnby and Moreland and Maclintick. Powell's deeply-felt devotion to the meaning and importance and self-fulfilling majesty of art was manifest in his lifelong interest in the written and visual art of yesteryear and, most of all, in his own gargantuan series of books. “Art is the true adjudicator," he once wrote, "in its complicated relationship with taste.”
And Powell's art, like his taste, was impeccable. There's really no better company than these novels (Marjorie Hakala contributed a nice writeup of their virtues to The Millions a couple of years ago). Philip Toynbee accused Powell of “immense circumlocutory facetiousness," but I think his sentences are perfect. Writing about Powell invites block quotes--like this one, Jenkins's description of his wife's enormous family:
There is something overpowering, even a trifle sinister about very large families, the individual members of which often possess in excess the characteristics commonly attributed to "only" children: misanthropy: neurasthenia: an inability to adapt themselves: all the traits held to be the result of a lonely upbringing. The corporate life of large families can be lived with severity, even barbarity, of a kind unknown in smaller related communities: these savageries and distillations of egoism often rendered even less tolerable if sentimentalised outside the family circle.
Even his short descriptions, the one-offs, are magnificent. Here's Sunny Farebrother, one of the recurring characters in the books:
There was a suggestion of madness in the way he shot out his sentences; not the kind of madness that was raving, nor even, in the ordinary sense, dangerous; but a warning that no proper mechanism existed for operating normal controls.
The comic aspect of Powell’s novels is often emphasized; Evelyn Waugh famously blurbed Powell as a comedic Proust. And Powell is enormously funny, although in his books humor and profundity shared the same territory:
Another long silence fell, one of those protracted abstinences from all conversation so characteristic of army Messes--British ones, at least--during which, as every moment passes, you feel someone is on the point of giving voice to a startling utterance, yet, for no particular reason, that utterance is always left pending, for ever choked back, incapable, from inner necessity, of being finally brought to birth. An old tin alarm-clock ticked away noisily on the dresser, emphasising the speedy passing of mortal life.
3.
Contemporary book culture roils with arguments about whether it is parochial or pointless to record only the narrow worlds occupied by a small group of homogeneous writers. A recent comment on an essay at this site asserted, “Any time an author seems more than willing to adorn his or her work with the trappings of a [modern] period piece, I begin to wonder just what kind of artistic ambition he or she has.” Reading Powell, you see the intrinsic possibilities of writing about a life that you are more or less living, even if to some people that life seems narrow and unsympathetic. In fairness, this is mostly because Powell was operating within an echelon of talent that renders arguments about parochialism totally irrelevant, and this is obviously an echelon to which very few people can aspire.
In Dance to the Music of Time, most people are privileged Etonians or wannabees, power-mad or at least ruthlessly pragmatic. The artists and leftists are delightful or zany, but not really sympathetic, and rarely good. But Powell makes all of these characters beautiful in his rendering; they, and the complicated dance they perform, assume a sanctified quality, like a leper cleansed by Jesus:
Afterwards, that dinner in the Grill seemed to partake of the nature of a ritual feast, a rite from which the four of us emerged to take up new positions in the formal dance with which human life is concerned. At the time, its charm seemed to reside in a difference from the usual run of things. Certainly the chief attraction of the projected visit would be absence of all previous plan. But, in a sense, nothing in life is planned--or everything is--because in the dance every step is ultimately the corollary of the step before; the consequence of being the kind of person one chances to be.
And yet Powell's novels have been accused of a certain parochialism since their publication. As Terry Teachout put it, "Even his most ardent admirers have been known to suggest on occasion that Dance might be too closely tied to the facts of Powell's own life to flourish as a fully independent work of art." (Heaven knows what these admirers, among them Philip Larkin, would have made of Karl Ove Knausgaard.) But even when writing about highly specific milieux, Powell manages to touch upon the universal. Describing the inside-baseball world of mid-century London writing and publishing, he conveys an impression of some age-old aesthetes' fraternity; you can imagine the Flemish painters sitting around the bar and shitting on one another using similar rhetorical codes.
"I expect you have heard of a writer called St John Clarke," she said, almost as soon as she had sat down. This supposition, expressed by some of my friends, would have been a method of introducing St John Clarke’s name within a form of words intended to indicate that in their eyes, no doubt equally in my own, St John Clarke did not grade as a sufficiently eminent literary figure for serious persons like ourselves ever to have heard of him. The phrase would convey no sense of enquiry; merely a scarcely perceptible compliment, a very minor demonstration of mutual self-esteem.
(I especially like this one: “Shernmaker represented literary criticism in a more eminent form. Indeed one of his goals was to establish finally that the Critic, not the Author, was paramount. He tended to offer guarded encouragement, tempered with veiled threats, to young writers….”)
It's a world that doesn't seem so remote, in its backbiting and intrigue, from literary communities today, although I don't want to overextend that comparison. Imagine if a new war was announced tomorrow--another new war, I should say, the kind that was called a war--and Keith Gessen and Chad Harbach and everyone else with a magazine or a book immediately signed up and began training in mobile laundry units and fighter planes, and about a quarter of them died. Imagine if the rockets started falling on Brooklyn, and the two halves of some couple about town were killed in one night, in two different dive bars:
As in musical chairs, the piano stops suddenly, someone is left without a seat, petrified for all time in their attitude of that particular moment. The balance-sheet is struck there and then, a matter of luck whether its calculations have much bearing, one way or the other, on the commerce conducted.
If the squabbles and anxieties of artistic types are timeless, the world that Powell describes--the particular texture of its massacres and meteors and fresh alarms--is specific to its historical moment, and his depictions the more valuable for it.
4.
There are certain conditions, totally unique to themselves, that seem to last an eternity even while they have finite beginnings and ends. Pregnancy is one. Twelve-volume novels series are another. Both have the effect of coloring your whole sense of things and self for the time that you are in them. Who was I this summer? I was pregnant, and I was re-reading the twelve-volume masterpiece of Anthony Powell. I am still one of those things, although only for another seven weeks. I am sure that pregnancy contributed to my blue spell that July afternoon, when I felt sad that things were bad, and Anthony Powell appeared and told me I couldn't do anything about it but read novels and count my blessings.
They say when you give birth you feel bereft, even lonely, as one stage ends and another begins. The taciturn but cherished companion you carried around for nine months becomes a separate, sometimes hostile being with complex demands. Finishing Dance to the Music of Time likewise required an adjustment; it left me feeling lonely. But at least I can always go back to the novels, make a pilgrimage the shrine of St. Anthony--succor of us who like things to be beautiful, even when they are not good.
January Books: A Reading List for the First Month of the New Year
What really begins in January, besides the calendar? Winter isn't even close to ending, and nothing but the new year is being born. But we do, nevertheless, like to start things when the year starts. Maybe it's that the quiet hibernation of the time, after the excess of the holidays, gives us the chance to reflect and resolve. Maybe, for those who believe, it's that our "decayed world," as Edmund Spenser introduced his Shepheardes Calender, has recently been refreshed by the birth of Christ. Or maybe it's just the arbitrary placebo effect of a change of digit and a clear new calendar page. What will you resolve to read in January? A new diet book? Will you try, once again, to finish Getting Things Done? Or will this be the year you'll read Proust, or Infinite Jest, or A Dance to the Music of Time? Or, might I humbly suggest, you could commence the healthful daily practice of reading a literary almanac.
In the 366 daily pages of A Reader's Book of Days, I tell a thousand or two tales from the real lives of writers, as well as the lives they've invented. I also sum up each month with a short essay and a list of recommended reading, and that, I found, was the hardest part. Not that there wasn't enough to say. Quite the opposite: there was too much. Talk about arbitrary! No 400 words or short stack of books could fully represent a 12th of the literary year. So it's with a sense of incompletion that I offer my nine recommendations here for January, books and poems that begin, or hinge, or are contained in the year's first month. Aside from almanacs like mine, surprisingly few books actually start in January, by the way; one of those that does may be the most appropriate January book of them all, though it's not included below: Bridget Jones's Diary, which opens the year not with hope but a hangover.
A Calendar of Wisdom by Leo Tolstoy (1909)
What did Tolstoy, in his last years, believe was the great work of his life? War and Peace? Anna Karenina? No, this anthology he spent 15 years gathering, which mixed his own aphorisms with those of the “best and wisest thinkers of the world,” organized by a theme for each day of the year.
At the Mountains of Madness by H. P. Lovecraft (1936)
As the southern summer opens up the South Pole for exploration, a scientific expedition led by professors Dyer and Lake discovers behind a range of unknown Antarctic mountains a vast, dead, and ancient city, one of the most evil and benighted of Lovecraft’s inhuman horrors.
“New Year Letter” by W. H. Auden (1940)
With hatreds convulsing the world “like a baffling crime,” Auden composed one of his great long poems as a letter to “dear friend Elizabeth,” whose hospitality in his adopted home of New York helped him toward this vision of order in art and life during a time of tyranny.
Do Androids Dream of Electric Sheep? by Philip K. Dick (1968)
You are far more likely to know Blade Runner than its source novel, set on a single January day in a post-nuclear 1992, which features, rather than Ridley Scott’s neon glamor, Dick’s equally thrilling and disturbing brand of stripped-down noir.
Airport by Arthur Hailey (1968)
Arthur Hailey wrote blockbusters like no one else, earnest and fact-filled dramas set in a series of massive industrial monoliths: banks, hotels, power plants, and, in this case, Lincoln International Airport in Illinois, during the worst winter storm of the decade, with one jetliner stuck at the end of a runway and another coming in fast with a bomb on board.
“In California: Morning, Evening, Late January” by Denise Levertov (1989)
Levertov’s pastoral is unseasonal in the temperate lushness of its California winter, and unsettling in its vision of the industrial forces invading and managing its beauty.
The Children of Men by P.D. James (1992)
Another novel overshadowed by its movie adaptation, The Children of Men, in a startling departure from James’s Adam Dalgliesh mysteries, uses the premise of a world in which human fertility has disappeared to examine the nature and lure of power.
White Teeth by Zadie Smith (2000)
Smith’s debut, which begins with Archie Jones's failed January suicide, has too much life to begin with a death: it overflows with not only the variety of multi-ethnic London but the exuberance of Smith taking her brilliant talent for its first walk out on the stage.
The Omnivore’s Dilemma by Michael Pollan (2006)
One of the omnivore’s dilemmas is how to navigate a world whose technology and global trade have accustomed even New Englanders to unseasonal luxuries like sweet corn and asparagus in the middle of January.
A Year in Reading: Lydia Kiesling
Oh, what did I read this year. I read all the Dear Prudence columns and some of The New York Times Vows and 6,000 things on Wedding Bee and even more things on Facebook and a lot of Tweets I do not remember now. I read two-thirds of the things about the election and one-third of the Mormon mommy blogs. I read most of the Andrew Sullivan and some of the Ta-Nehisi Coates and half of The New Yorker, but not the thing about Hilary Mantel, because I didn't read Wolf Hall, until this week when I read half of it on the train. In the airplane I read Esquire. In the bathroom I read The Economist that I got free with the miles I accrued reading Esquire in the airplane. In the living room I read the alumni magazine I got free with the expense I incurred on my education. I read the whole Jonah Lehrer scandal. My favorite thing I read on Jezebel was a video of a dog fetching a cat.
I read In Other Rooms, Other Wonders, and my word, was that good. I read The Appearance of a Hero, and wrote a whole review of it in my head called "Where the Bros Are" -- or was it "For the Bros"? -- but forgot to write it down (don't get me started on the things I didn't write this year). I read NW and couldn't stop thinking about the scene with the tampon string like a mouse tail and got the taste of metal in my mouth, thank you very much Zadie Smith. I read We Need to Talk About Kevin and got the feel of bleach in my eye and hamster in my sink, thank you very much Lionel Shriver. I read The Snow Child which was like Crystal Light with extra Splenda (that is not a compliment, in case it's not clear). I read The Silent House which gave me the willies (that is a compliment). I read the The Deptford Trilogy because every year I have to read something by Robertson Davies and like it and then forget what it was about. I read the Donald Antrim triple-decker (one, two, three), and those were the greatest old new things I read this year.
I re-read Good-bye to All That and Tender is the Night and Midnight's Children. I did not re-read The Tin Drum or Middlemarch or The Chronicles of Narnia or any Sherlock Holmes stories, and I really feel it in my bones that I did not re-read these things. I did not re-read The Corrections or Cleveland's History of the Modern Middle East, which I was going to re-read to remember what is the deal with Syria. I only re-read half of one movement of A Dance to the Music of Time (one-eighth, then).
I still did not read Witz or Swamplandia! or The Instructions or A Visit from the Goon Squad or Skippy Dies or The Art of Fielding, or How Should a Person Be? even though I spent $30 on it at a book thing to seem like a team player. More distressing, I still did not really read Don Quixote or Das Kapital or War and Peace, or a thing by Stendahl or Ulysses. I did not read one really hard book this year, except one by Buket Uzuner, and that was just hard for me, and I didn't really read that either, just 20 pages.
As usual, to compose my Year in Reading is to confront my failures. Resolved for 2013: more paper, less screen. More reading, more revelation.
More from A Year in Reading 2012
Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005
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Wedding Wind: A Commonplace Book of Unsuitable Readings
A Word on Weddings
Like many people whose marriage impends, I have been initiated into the strange, febrile world of weddings — a world whose population is varied and ever-changing, a time-lapse version of the actual world. The wedding world is headquartered at sites like The Knot or Weddingbee, where the affianced and the "waiting" (for someone to put a ring on it) alike convene to commune in questionable spelling and reverent platitudes of surpassing banality: "marrying my best friend," and "it's not the wedding, it's the marriage," uttered in the course of a discussion about five-dollar chair covers.
Making fun of The Knot or Weddingbee is like shooting fish in a barrel, and most of the womens' interest blogs of the sort I favor have taken aim. But Jezebel cannot tell me anything about tipping the caterer, while Weddingbee bristles with opinions on the subject. Moreover, long after I harvested the helpful hints I needed from Weddingbee, I return frequently to view the forums, which I have found absorbing to an almost debilitating degree.
It began with the unkind voyeuristic impulse behind something like The Hairpin's Today's Top Ten Wedding Bee Discussion Board Thread Titles. The Internet, more than travel, more than almost any other thing, gives you a glimpse of how other people live and what they care about. And with weddings being a widespread but mostly un-ideological phenomenon, a wedding website attracts a real slice of life. On Weddingbee there are the expected Marxian differences, as well as significant regional and hemispheric variations.
In spite of this, these boards are a friendly place. Women are frequently reminded by the world at large that they are catty and shrewish, but I am often struck by the fierce generosity demonstrated by groups of women unknown to one another (also by the speed with which a group of female strangers will turn to topics of contraception under the right circumstances). As in any community, some members are just assholes. But someone asks if she is too fat to see daylight, and everyone tells her no, no, no. Someone loses her job a week before her wedding, and the hive gathers round her in an online embrace.
Disdain for these sites is often of a parcel with another phenomenon the wedding-haver encounters — a sort of race-to-the-bottom humblebrag about the minimal expense of the interlocutor's wedding, sometimes phrased so that the implication is that the success of a marriage is inversely proportionate to the cost of the shindig. "Had it in the backyard," they say, and the Lord rained down gratis BBQ and compostable cutlery to reward their lack of pretension. Then there is Caitlin Flanagan, who characteristically manages to be right about a lot of things while sucking the joy right out of the world, reminding us that weddings are a colossal, farcical, tasteless, and needless expense representing a hollowed-out institution — just another example of our sick culture.
Everyone has their own line for what constitutes folly. I am not without my own strain of Flanaganism. But one thing I really like about weddings is that though they are a folly, they are to the best of my knowledge a relatively universal folly (and one of the few driven by some ostensibly joyful and optimistic instinct). Even in less libertine cultures than my own, they often represent a union in which not a shred of virginity, financial health, or, sometimes, likelihood of enduring love remains. Even so, we are going to get spruced up, create a festive atmosphere of one sort or another, and take photographs. In a thousand languages, people spend money, fight about the guest list, and try not to get any unsightly hives on the big day. Then, they try to stay married. We are unlikely to make ourselves less stupid than we collectively are, so we should have parties.
My own experience of wedding planning has been a very traditional cocktail shared with my beloved, composed of anxiety, guilt, and joyful anticipation. Like many people, I made a lot of lists of things and fretted too much about some things and not enough about others. I did things that were called "wedding planning" which were actually just mindless Internet trawling, looking at pictures of things that have no bearing on my life, and patting myself on the back for at least not being as x as the people who say y on Weddingbee.
What the wedding sites made clear to me about weddings generally and ours in particular is that they are inevitably one iteration of a thousand other weddings — a melange of logistical and aesthetic decisions dictated by social forces largely imperceptible to you. You find that choices you believed you had arrived at quite on your own are some current staple of Pinterest, totally characteristic of your particular station in life. My demographic, evidently, is very fond of the "rustic" and the "vintage." And while I have grown to shudder at these terms (one wedding theme I read about: "vintage books"), part of it is the pain of realizing that you are part of a vast, rushing current, and your tastes are not your own.
I eventually resigned myself to rusticity and sameness, but one place where I thought I could assert my personality (without leaving my fiance totally by the wayside, or course), was the wedding reading. I was confident that Weddingbee could tell me nothing that I did not already know about a pithy piece of writing.
How Literature Failed Me in my Hour of Need
It is now customary in many weddings to write one's own vows, tailored to fit the bride and groom's individual quirks. Faced with this prospect, some dour inner Protestant stirred and grumbled. I could not picture us telling the assembled that we enjoy fattening food, Breaking Bad, and architectural boat tours. That when I mop the floor, I like to get drunk and listen to Groove Armada. When you sneeze, you sneeze five times. That I promise to always like the Redskins even when they are dismal. No, I am partial to "death do us part." And brevity, ironically.
Thus the reading became the one place in the ceremony for a little customization and flair. My beloved also likes books, but I am bossier, and I took the reigns on this project. And since I find literature sufficient for expressing most of what there is to express about human life, the bar for this particular passage was very high.
As a bookish person, it felt like cheating to be searching for beautiful passages from the Internet. I preferred for it to happen more organically (so precious, so mistaken). I read books all the time, I thought to myself; surely I should have some interior commonplace book chock-full of beauty and inspiration to consult. But the only two poems I can recite in their entirety — Philip Larkin's "High Windows" and "This be the Verse" — are so far from wedding-worthy it's hard to imagine anything worse: "When I see a couple of kids/ And guess he's fucking her and she's/ Taking pills or wearing a diaphragm,/ I know this is paradise." (Or "They fuck you up, your mum and dad," obviously.)
I love "The Whitsun Weddings," which is technically a poem about weddings. But while, contra Christopher Hitchens, I think its last line is romantic, the romance is that of life, not of individual human relationships: "A sense of falling, like an arrow-shower/ Sent out of sight, somewhere becoming rain." "Broadcast" is love poem, but a more sneering and cringing love poem there never was: "...Then begins/ A snivel on the violins:/ I think of your face among all those faces,/ Beautiful and devout before/ Cascades of monumental slithering." Most unsuitable for a wedding. And anyhow, Larkin — more on him later.
My favorite poem is probably T.S. Eliot's "Preludes," the last lines of which reveal the haunting ordered chaos of the universe, but hardly warm the cockles: "The worlds revolve like ancient women/ gathering fuel in vacant lots." In a book shop pawing through the poetry, I sensed this was a theme, in poetry in general, and especially in the poetry I like. Tomas Tranströmer seemed promising for a minute in "The Couple," if a touch erotic: "The movements of love have settled, and they sleep/but their most secret thoughts meet as when/ two colours meet and flow into each other/ on the wet paper of a schoolboy’s painting." But that ending: "They stand packed and waiting very near,/ a mob of people with blank faces." It leaves an impression of a lonely echo in a hallway, a little like "Preludes."
Googling had seemed like cheating, but I started to Google, and found, predictably, that I was hardly the first person to have had this problem. Book snobs abound. I went to the library and took out several anthologies, including a book of readings specifically for weddings. There are things I have seen before — sonnets, for example — but I like free verse. There were many things I hadn't seen. Margaret Atwood has a poem about marriage called "Habitation," evidently used in some weddings. I liked it, stupidly, because it mentions eating popcorn, which happens to be something that my beloved and I do together on a shockingly regular basis. But it seemed a little fraught for a wedding. The last line, "We are learning to make fire," hangs at the bottom of the page, lonely as early man: I pictured us shivering in our damp cave.
I liked an excerpt from Toni Morrison's "Jazz" — "It's nice when grown people whisper to each other under the covers" — but that's so private, and then the poem invokes an off-stage "chippie" and "stud." I checked out Love Letters of Great Men, but the problem, aside from the sort of ethical weirdness of reading someone's mail, is that great men tended to write romantic letters to a number of different women, which is not really on-message for our marriage (this was not in the collection, but I remember Malcolm Lowry once wrote one of his wives that he wanted to use her toothbrush instead of his own). I looked to the eminently quotable Flaubert in the pages of Julian Barnes' wonderful Flaubert's Parrot. Here's a good one: “You ask for love, you complain that I don't send you flowers? Flowers, indeed! If that's what you want, find yourself some wet-eared boy stuffed with fine manners and all the right ideas. I'm like the tiger, which has bristles of hair at the end of its cock, with which it lacerates the female.”
Rumi figures in anthologies of love poetry. I like Rumi, but for a wedding I feel that the Sufis are off-limits. As far as I know, which is not very much, the beloved of whom they speak is likely to be God, or the young man who brings you your wine. Context matters. Also, my favorite line from Rumi is fiercely individualistic: "I drip out of a spout drop by drop — But like the deluge I crush myriad palaces." (Rappers have nothing on Rumi). I toyed with finding something in Turkish — but it seemed to me that this was a moment for my mother tongue. And my knowledge is limited, and my favorite Turkish poetry is in any case a line written by the twelfth century poet Yunus Emre, too defiant for a wedding unless it was one disapproved of by all relatives: "What should the ignorant know of us?/ Greetings to the ones who know."
Context matters, and that's really what takes Philip Larkin out of the question: he loved Monica Jones so much he helped Kingsley Amis turn her into one of literature's great hysterics, a caricature of a pain-in-the-ass female (Lucky Jim's Margaret Peel). When I think about literature I don't typically dwell on the private life of the author, because it's a slippery slope. But I found when looking for a wedding reading that I became more interested in whether the writer him or herself had been married and gave at least the appearance of contentment.
On love, Emily Dickinson basically sums it up: "That Love is all there is/ Is all we know of Love;/ It is enough, the freight should be/ Proportioned to the groove." But love and marriage are not the same thing. Most unkindly, I wondered what the virginal shut-in would know of the long intimacy, the vaunted tedium of marriage. Bizarrely, I veered into some exclusionary policy regarding Auden and Forster, whose circumscribed personal lives were in the broad sense casualties of a bigoted and ignorant society. Nabokov was promising; he is known to have loved Vera, and wrote her poems. But the 1974 poem "To Vera" is just that, a poem to Vera, and seemed to have nothing to do with us. "How I Love You" is Nabokovian in a way that confounds a ceremonial reading: "...gnats:/ hanging up in an evening sunbeam, / their swarmlet ceaselessly jiggles..."
There is the religious angle — a friends' wedding featured Isaiah 43:1-7, which I believe is a particularly badass selection from the Old Testament: "When you walk through the fire, you will not be burned." But novels are my sacred texts, and we are in any case rather unclear in our feelings about the Lord. His brief invocation in Robert Louis Stevenson's cheerful "Wedding Prayer" is enough: "Lord, behold our family here assembled" (which one could also read: "Oh Lord, they're all here.")
Poetry letting me down, I turned to the novels that I love. No passage suggested itself to me — unless you have a very certain kind of mind, you can't survey the text of every book you've ever read all at the same time. And if it's not cricket to go looking for a previously unencountered reading that somehow has meaning to you, it's equally uncricket to read everything with an eye to appropriating some piece of it for your marriage ceremony. But I began to see that's how I should have been reading for the entirety of the preceding year.
What had I read most recently? We Need to Talk About Kevin, for chrissakes, and a book about rabies. I reread Goodbye to All That, which Graves closes with "...marriage wore thin. New characters appeared on the stage. Nancy and I said unforgivable things to each other. We parted on May 6th, 1929. She, of course, insisted on keeping the children. And I went abroad, resolved never to make England my home again..." My fiance had most recently read Travels With Charley, and suggested I look there. But Travels With Charley is about a man and a poodle, and the poodle goes "ffft."
I began to comb through my favorite novels, but from the outset it was clear that most would never do. There's Burmese Days or Of Human Bondage, where goodish men are driven mad by worthless women, with differing outcomes. A Suitable Boy is a spectacularly romantic novel, weddings all over, but it portends falling in love with the man you can marry, in lieu of the one that you can't. The Tin Drum, full of obscenity. Wodehouse, too facetious. The aforementioned Lucky Jim closes with a romance, but it is a revenge story, against all Welches and Margarets, rather than a love story about the well-formed Christine. Iris Murdoch's novels are full of bizarre marriages and strange perversity. (The Sacred and Profane Love Machine, anyone?) Till We Have Faces, jealous sibling love and spinsters. I opened Possession, even Swann's Way — they presented unyielding blocks of text. The closest I came was from A Dance to the Music of Time, and in fact explained why I was having so much trouble:
A future marriage, or a past one, may be investigated and explained in terms of writing by one of its parties, but it is doubtful whether an existing marriage can ever be described directly in the first person and convey a sense of reality. Even those writers who suggest some of the substance of married life best, stylise heavily, losing the subtlety of the relationship at the price of a few accurately recorded, but isolated, aspects...Its forms are at once so varied, yet so constant, providing a kaleidoscope, the colours of which are always changing, always the same. The moods of a love affair, the contradictions of friendship, the jealousy of business partners, the fellow feeling of opposed commanders in total war, these are all in their way to be charted. Marriage, partaking of such — and a thousand more — dual antagonisms and participations, finally defies definition.
It defies definition, and yet I wanted something romantic, weighty but not melancholy, in English, about marriage. It was finally Louis C. K. who drove it all home, how hard this is to do:
...Or you’ll meet the perfect person who you love infinitely and you even argue well and you grow together and you have children and then you get old together and then SHE’S GONNA DIE. That’s the BEST CASE SCENARIO, is that you’re gonna lose your best friend and then just walk home from D’Agostino’s with heavy bags every day and wait for your turn to be nothing also.
That is indeed the best case scenario, the lost best friend, that friend so abstract on the Weddingbee message boards, so real in practice. I listened to Donald Hall reading about the death of Jane Kenyon on This American Life and bawled my eyes out.
In the end, I stood again in a book shop, rifling through every poetry book they had. (In the course of the hunt I was descended upon by the proprietor, and because the last thing I wanted was someone's advice on the matter, remained mute on the subject of the wedding and was thus compelled to read two suggested Bill Hickok poems while he stood watchfully at a remove.) Finally, I picked something, a poem by Billy Collins from his collection Nine Horses. I picked something, but what I thought was even better in that collection was something else, "Bermuda," which is basically a poetic version of the Louis bit. A husband and wife lie together on a beach: "and the two of us so calm/ it seems that this is not our only life,/ just one in a series, charms on a bracelet,/ as if every day we were not running/ like the solitary runners on the beach/ toward a darkness without shape/ or waves, crosses or clouds,/as if one of us is not likely to get there first/ leaving the other behind,/ castaway on an island..."
It turns out that it was hard for me to find a good wedding reading because I'm a gloomy old bastard.
There, it would seem, is the rub. But I wasn't going to put this foreboding stuff into the wedding ceremony. No, with several days remaining until the wedding I picked Collins's "Litany" ("You are the bread and the knife,/ the crystal goblet and the wine"), which I thought was lovely and romantic and yet also conveyed the promised prosaic qualities of long relationships. It's funny, but not too much. I find the long dashes of the last lines poignant: "You will always be the bread and the knife,/ not to mention the crystal goblet and — somehow —/ the wine." There is an element of the sacramental which appeals to me, something that begins to approach the reverence I feel for my own beloved.
After all this, after the fretting and gnashing of teeth and weeping over sad poems and vases in empty rooms, I learned I could have found my reading on the Internet. It's on a list of wedding readings compiled by Publisher's Weekly, for one. I could even have found it on Weddingbee, where some fiercely unique soul, someone just like me, recommended it in a thread five years ago, lauded as a "a quirky expression of love, perfect for an English major who likes playing with metaphors."
But I don't care, I've got my love to keep me warm.
Image: Pexels/Caio Resende.
Seven Reasons to Read A Dance to the Music of Time
In the fall of 2009, I left the United States to spend a school year teaching English in China. There were many things to do before leaving, but one of the more pleasurable was choosing which books would see me through the year. When my friend Ellen suggested taking Anthony Powell's series A Dance to the Music of Time, I felt a click, the sort you feel when someone suggests a thing and you realize that is exactly what you intended to do all along. I packed the whole series and spent the next nine months living in China but letting a great deal of my imaginative life take place in mid-20th-century England.
For those who haven’t heard about the series or seen its tantalizing spines lined up on some bookstore shelf, Dance is a sequence of 12 novels, generally published as four volumes of three novels each. The series takes its name from a 17th-century painting by the French artist Nicholas Poussin, which depicts the four seasons as nymphs dancing in a circle while a winged Father Time plays for them on the harp. (The American editions of the books, published by the University of Chicago Press, use Poussin’s artwork and put one of the nymphs on the spine of each volume, so that when lined up the four volumes create an eye-catching work of art on one’s shelf.) The books take place in England over the course of nearly 60 years, starting between the World Wars and ending in the 1970s.
Various people have claimed that Dance is the definitive work of the British 20th century. The whole series is one entry on the Modern Library's list of the 100 best novels of the century, which is a bit of a cheat, although there’s no good way to select one novel from the set. Evelyn Waugh called the books "more realistic than A La Recherche du Temps Perdu, to which it is often compared, and much funnier." (Surely, if Waugh had tried, he could have come up with a more ringing endorsement than “funnier than Proust.”)
In any case, the books were a great success in both Britain and America upon their publication, but heaps of praise from people like Evelyn Waugh do not always secure a devoted, continuing readership once a book is no longer new. And these books deserve a continuing readership. They are masterful, they are deeply artful -- and they are also rather fun. They contain a wealth of comedy, closely observed as the best serious work but with an additional twist that makes for a startled laugh when you suddenly realize what's going on. They deserve to be popular. They deserve to be widely read and loved. These are the first books I can recall reading as an adult that made me want to go join the official society of fans of the author. Those who love these books love them for a lifetime; they are so rich and so pleasurable that they bear revisiting over the years as the reader grows alongside the characters and finds new ways to understand the story. And yet, in point of fact, nobody I know has read them, though I know a couple people who have been meaning to get around to it. And so I am taking to the Internet to make my own case for Powell to anyone out there who is in search of a new reading project as I was, or who simply needs something to read on these winter days.
Without further ado, then, seven reasons why these books deserve to be read:
Reason #1: They are unique.
This series is really a comic epic, and a fictional memoir of a person's social life. It is a British social novel scaled way, way up.
A quick setup before going further: These books are narrated by Nick Jenkins. He shares a remarkable number of biographical details with one Mr. Anthony Powell, but we'll take him on his own terms. Nick starts by telling us about his school days (outside sources say the school is Eton, though the text never indicates this) and university life (outside sources, Oxford, ditto) in the late 1910s to early '20s, and the story continues through marriage, career, military service in the Second World War, and subsequent middle to old age in and around the London literary scene.
Nick is the only person who appears in every novel in the series, but he is not very keen on telling us much about himself. What he recounts are stories about social interactions at school, in the military, and in a roughly defined community of London literati, rather than stories about himself going to school, being an officer, and working as a writer. Nick is more likely to tell us what someone else appeared to be thinking than what he himself was thinking. His own marriage is sketched in the lightest possible lines, his children only hinted at. "It is difficult to talk about one's wife," he says, and so he doesn't do it. He turns his considerable powers of understanding on other people instead -- on other people, and on books.
Reason #2: They're playfully, livably literary.
Nick is the kind of narrator who behaves as if he is actually writing the books; he serves as our author, rather than a conversation partner or a character into whose head we are allowed access. This works particularly well because the character is a writer. He doesn't tell us the titles of any of his novels, though; the only book of his we're allowed to know about is a scholarly work on Robert Burton, the author of The Anatomy of Melancholy, and that is included because it plays into his pattern of relating life to books. Nick shares what lines or ideas from other writers are playing through his head but not what stories he's thinking up himself, rather in the way he is much more likely to recount a conversation with someone else than a solitary train of thought.
For the bookish amongst us -- a category that surely includes nearly everybody willing to pick up these books -- this kind of thought process will look rather endearingly familiar. As such it's a comforting way in to the bigger stuff in the novels, the Second World War chief among them. Nick has a handful of attempted conversations about literature while in the army, the bulk of which fail so spectacularly that I laughed out loud while reading. There's a fellow soldier who has a book of Kipling secreted away but is barely able to say anything about it. At the opposite end of the spectrum there's David Pennistone, who though “capable, even brilliant, at explaining philosophic niceties or the minutiae of official dialectic, was entirely unable to present a clear narrative of his own daily life, past or present.” That's obviously a problem not shared by our fearless narrator, but Nick and Pennistone are a kind of kindred spirit nevertheless and their conversations, however brief, are a relief from the military absurdity surrounding them.
Nick himself introduces literature into a lot of conversations that have nothing to do with literature, and it seldom works -- as he comments after one of these conversations, “I was impressed for the ten thousandth time by the fact that literature illuminates life only for those to whom books are a necessity. Books are unconvertible assets, to be passed on only to those who possess them already.” The last scene of The Military Philosophers (the ninth book) is an end-of-war service at St. Paul's Cathedral. Nick spends the whole time thinking about the poetry and song lyrics used in the service. The older he gets, the more his reading informs what he tells us of his life, especially Burton. The last novel takes place in the late 1960s and early '70s, but is suffused with concepts and stories from the 17th century.
Reason #3: Do you like England? These books are completely, uniquely, and ineluctably English.
Apart from a trip to France in the first book, some time in Ireland in the third volume, and an interlude in Venice in Temporary Kings (the 11th book), the entire series takes place in England. I think it's fair to assume our narrator never crosses the Atlantic (though Powell himself traveled rather extensively). The foreigners in the novels, who include French, Polish, Swedish, Norwegian, American, and a prince from a never-named Balkan country are seen through English eyes, and there's a lot to be perceived about the British characters in the way they think and talk about these foreigners. I suspect Powell understood America somewhat better than his narrator, who comes across as rather naive on the subject -- there's a charming conversation at one point about Americans who are descended from signers of the Declaration of Independence, and it makes American social strata sound as arcane as those of ancient Mesopotamia. As a boy who's just finished school, Nick spends a short time in France, and he seems a little surprised that the Norwegian and the Swede he meets there don't get along, being from such similar cultures. The novels are not parochial -- Nick is educated and observant -- but they come from a very definite cultural perspective.
I should not neglect to mention that Powell, though he spent his life in England, came from a very old Welsh family, whose name he preferred to pronounce in the traditional fashion (rhyming with “noel”). He gave Nick a Welsh name as well, but any influence of Wales in the text is so subtle as to be invisible to this American reader. England pervades every bit of the books, though perhaps most notably the humor:
Reason #4: They are wonderfully funny.
Dance is certainly a comedy, but it can’t afford to be a classical comedy with happy endings for all. In any work covering such a vast period of time, there will inevitably be many deaths to read about. As it happens, that time includes the Second World War, and there are some deaths that occur right out of the blue while the story is occupying itself with social matters. These are sometimes ridiculous, but never ridiculed; sometimes tragic, but never eulogized. There's no denial of tragedy, in other words, but Nick manages to acknowledge it and then move on to tell us about the next social occasion.
He doesn't laugh out loud at what he sees going on around him. He doesn’t tend to tell the reader that someone is funny, and no one ever says he's funny either. But he is, terrifically so. The humor is dry, sidelong, sneaky.
The trick is to notice that Powell doesn't take the social world he's describing very seriously. It would be easier to notice this if the books didn't look like they should themselves be taken very seriously indeed, if they were less hefty and classical -- the Poussin nymphs on the American editions are beautiful but a little intimidating. If you can forget about them for a while and get into the small-paperback spirit of reading, you can appreciate the absurdity of this little exchange, where Nick and his former head of house from Eton are conversing in a library and a boy comes by to ask the teacher a question:
We were interrupted at this moment by a very small boy, who had come to stand close by where we were talking. It would be truer to say we were inhibited by his presence, because no direct interruption took place. Dispelling about him an aura of immense, if not wholly convincing goodness, his intention was evidently to accost Le Bas in short course, at the same time ostentatiously to avoid any implication that he could be so lacking in good manners as to break into a conversation or attempt to overhear it. . . .
'What do you want?'
'I can wait, sir.'
This assurance that his own hopes were wholly unimportant, that Youth was prepared to waste valuable time indefinitely while Age span out its senile conference, did not in the least impress Le Bas, too conversant with the ways of boys not to be for ever on his guard.
Is that too dry for an introduction? If so, perhaps I should mention that there is also a butler who gets attacked by a monkey.
Powell's portrayal of servants is quite funny, actually. At the time when these books were being written, P.G. Wodehouse was already making virtuosic use of the comic possibilities of the English serving class, most famously in the form of the hyper-competent Jeeves. Powell cut against the Wodehouse grain by making his servant characters only middling in competence and by having them intrude in the life of the household at the most inconvenient times, highlighting the strangeness of two entirely different categories of person living in a house together. The aforementioned butler works for an upper-class Communist, who doesn't want a butler or really believe in having butlers, but can't manage his enormous house without one, and there's a sadly droll tone to their interactions.
The funniest novels are those in Volume 3, the war volume, possibly from a need to counterbalance the effect of the war on the narrative, possibly because the military is just so rich in comic possibilities:
The General turned savagely on Gwatkin, who had fallen into a kind of trance, but now started agonisingly to life again.
“No porridge?”
“No porridge, sir.”
General Liddament pondered this assertion for some seconds in resentful silence. He seemed to be considering porridge in all its aspects, bad as well as good. At last he came out with an unequivocal moral judgment.
“There ought to be porridge,” he said.
Reason #5: There is a judicious amount of world history.
By this I mostly mean World War II. Nick is just old enough when the war starts that he's more of a military bureaucrat than a soldier, so none of these books is a War Novel in the customary mold. That said, it made me feel more powerfully about the London Blitz than anything, fiction or nonfiction, has ever done before.
In the war volumes, the humor is a little broader, with fewer subtle verbal jabs at social gatherings and more caricatures of superior officers (such as the two colonels named Eric and Derrick). And, as one would expect, the bad things that happen are far more serious. Nick, being who and what he is, gives us these things -- the party hit by a bomb, the deaths that come out of the blue -- without very much comment. There's a section in The Military Philosophers where he says, “I was briefly in tears,” and I found it the most poignant bit of fiction I'd read for a very long time. Mostly, though, he continues to portray his life by way of the people with whom he surrounds himself, and to cope with uncertainty, discomfort, and death by finding comfort in the literary and intellectual.
Others, of course, respond to the war in very different ways, for instance,
Reason #6: Widmerpool.
Kenneth Widmerpool is one of only two characters besides Nick who appear in both the first novel of the series and the last. When he is first introduced, he’s a boy at the same school as Nick, a little older than our narrator, and his defining attribute is “the wrong kind of overcoat,” which “was only remarkable in itself as a vehicle for the comment it aroused, insomuch that an element in Widmerpool himself had proved indigestible to the community.”
This indigestibility serves Widmerpool surprisingly well. Possessed of no virtues but ambition, he is almost always able to convince his superiors that he’s especially worth promoting, rather than especially repulsive. Throughout the 12 novels, he turns up like a bad apple, and nearly every time he does so, his social or professional or military status has increased. “It was Widmerpool” is the most frequently repeated line in the books. Widmerpool himself may be the most deeply realized shallow person in English writing. His sense of his own importance, and his ability to force others to treat him as important, propel him to stations he does not deserve and cannot capably fulfill, and he is just competent enough to keep rising up in the world. Nick is none too pleased to be thrown together with Widmerpool so often, but he maintains his characteristic detachment on the matter. A different writer might treat the contrast between the two men as a moral one, but in Dance it is almost entirely aesthetic, and it is all the richer for it. The two of them, writer and bureaucrat, meet and part and re-meet over the course of the dance with an inevitability that is somehow both wearying and wonderful.
Reason #7: The books are both discreet and entertainingly frank.
The romantic relationships in this series are an utter mess. Almost everyone who gets married gets divorced, usually sooner rather than later; there's infidelity all over the place; there is voyeurism and necrophilia and people showing up in the nude at surprising times. But it's not lurid, simply because of the manner of writing. Nick tells us about a few sexual encounters before his own marriage, and he does so in a way that leaves no real doubt what's going on but that includes no description whatsoever. The love scenes divert their gaze away from physical details and instead are all about character, behavior, and the degree to which people's emotions are engaged (and whether they're engaged equally, which they almost never are).
Homosexuality, incidentally, gets a rather interesting treatment in these novels. Early on -- this would be in the 1920s and '30s -- it's hinted at much more subtly than the hints of what's happening in those love scenes. As time goes on there are clearer hints, often in the form of rumors that turn out to be true perhaps half the time, though there are also a couple scenes where a walk-on character is casually identified as a lesbian. In the post-WWII novels, the word "queer" is introduced, apparently in the process of taking on its new meaning. (There's a conversation in Temporary Kings that illustrates this very well, where someone asks Nick if a mutual acquaintance is “queer:” “Is he?” “Homosexual?” “Of course.” “I don't think so. I don't think he's very normal either.”) The word and the concept then move into the mainstream of the narrative until there are, in Hearing Secret Harmonies (the final book), an acknowledged male couple, an occult community where everyone is expected to have sex with everyone else for ritual purposes, and a number of offhand references to off-screen gay characters that don't seem to surprise anyone.
Overall, the effect is that of a narrator with a strong sense of personal privacy but a very mild sense of shame. Like Melville's Ishmael, he may choose to look away but he never flinches.
If you are not convinced...
If none of this has persuaded you that you need to read 12 British novels right now, here is what I recommend. Get hold of Volume 2 or a copy of the last novel in it, The Kindly Ones. Read the first chapter. It takes place in 1914, earlier than the rest of the saga, and it is the most self-contained bit of the series. If you don't have the time or the will to read all 12 novels, this one chapter gives you some of the best they have to offer; I can't imagine a better account of the start of World War I from a domestic, English point of view. If you think you don't have the time or the will, this chapter might convince you it's really not such a daunting task, and that this is a story and a voice worth settling down with for the long haul.
The Literary Pedigree of Downton Abbey
In the house where I grew up, the child of English teachers, PBS' Masterpiece Theatre connoted "classiness" in at least two senses. On one hand, its filmed adaptations of classic novels added a touch of literary refinement (and sometimes even of eat-your-vegetables self-improvement) to a television schedule larded with junk food. On the other, it offered a place for us churchmice to indulge our fascination with "class" in the baser sense: idle wealth and posh intrigues and butlers who ring for tea at three.
In America, I've lately come to feel, this latter is the love that dare not speak its name. We're a nation whose hereditary upper class keeps insisting there's no such thing (see gubernatorial scion and presumptive presidential nominee Mitt Romney's tweets from Carl's Jr.), and where even the concept of "class" is dismissed as taboo (see the suggestion, ibid., that income inequality is something best talked about "in quiet rooms"). But Masterpiece, safely couched in the past, and usually overseas, remains one of the public venues where the upper crust, albeit fictional, can exercise their privilege without scruple, and where the rest of us can go to gawk. Those houses! Those costumes! Those accents! (In this light, The Forsyte Saga, which launched the series 41 years ago, appears almost proto-Kardashian.)
The current Masterpiece feature, Downton Abbey, mashes both class buttons hard. In the economic sense, it centers on the Earl of Grantham and his fabulously wealthy family, and on the eighty-eleven-dozen servants who attend to their every whim. On the cultural front, it offers a whiz-bang pastiche of three centuries of English literature. Maggie Smith's Dowager Countess is a venerable type: part Trollope's Mrs. Proudie, part Thackeray's Miss Crawley, part Dickens', Aunt Betsey Trotwood (likewise played by Smith in a Masterpiece adaptation)...maybe with a touch of Professor McGonagall thrown in to keep things lively. Carson the Butler surely owes some of his imperturbability to Wodehouse's Reginald Jeeves. The central romance, between the earl's eldest daughter and her cousin Matthew, hews closely to the Jane Austen playbook (though, two episodes into Season 2, it's still not clear who's Elizabeth and who's Mr. Darcy). And Downton Abbey, the titular estate, is like a mash-up of Brideshead and Wuthering Heights.
I doubt any of this is accidental. Downton Abbey's creator, Julian Fellowes, has adapted Twain and Thackeray for screens large and small, and has gone so far as to nick the Crawley surname for his own aristocrats. Nor is his erudition limited to English-language literature; this is the kind of show where, when a Turkish character appears, his name is an amalgam of two of the greatest living Turkish novelists: Kemal Pamuk. (I'm still waiting for the American character named Melville von Updike.)
Needless to say, Downton Abbey is also serious fun; it's become a surprise successor to Friday Night Lights and Mad Men as TV's current "must-watch" show. But when, in the dead days between finishing Season 1 on DVD and waiting for the premiere of Season 2, I rummaged through my Brit-Lit shelf looking for some upstairs-downstairs action to sustain me, I was shocked by how little of the actual aristocracy I found.
It turns out that my sense of the "classiness" of the English novel is like my sense of the monolithic "classiness" of English elocution -- that I suffer from a kind of cognitive foreshortening, wherein important distinctions disappear. In fact, what the English novel is overwhelmingly about, in class terms, is not the hereditary nobility but the middle classes: the downwardly mobile landowners, the upwardly mobile bourgeoisie.
Granted, the English class terminology is hopelessly confusing (sort of the way over there "public school" means private school.) But consider the seminal novels of the 1700s. Richardson's Clarissa may moon around a swell house, but she hails from a family of arrivistes. And though Fielding's Tom Jones lives with Squire Allworthy -- a member of the landed gentry, if I've got my terminology correct -- he does so as "a foundling."
Then there's the 19th century. Mr. Darcy, with his £10,000 income, could probably give Allworthy a literal run for his money, but his Pemberley estate is more the Maguffin in Pride & Prejudice than its setting; Jane Austen's eye keeps returning to the raffish Bennets. Or take the Bröntes. We experience the grandeur of Rochester's Thornfield Hall only through the eyes of Jane Eyre, the governess. Class roles are more fluid in Wuthering Heights, but between Heathcliff and Catherine, one is always on the way up and the other on the way down. Even Thackeray's Crawleys, with their titles, are really supporting characters. The main attractions in Vanity Fair are the upper-middle-class Amelia Sedley and the scheming Becky Sharp. And perhaps the very greatest of the 19th-century English novels, Middlemarch, declares its allegiances right there in the title.
It's possible to account for the English canon's emphasis on the middle purely as a matter of dramatic interest. Unlike earls and princes and duchesses, the gentry and the striving bourgeoisie are people with places to go, with something to gain...and to lose. Still, compare the English novel of this period with the Russian -- all those counts! -- or with Proust's elaborate explication of the Guermantes line, and you remember that aristocrats have plenty to lose, too, starting with reputation. (Indeed, questions of reputation animate some of Downton Abbey's key plotlines.) And surely readerly interest in lifestyles of the rich and fabulous isn't a new phenomenon. In fact, I suspect that the overlay of aristocratic intrigue in a novel like Vanity Fair is an attempt to satisfy it.
But the rise of the English novel parallels historically the rise of the middle classes; these are the classes from which most of the great novelists hailed, and to whose upper reaches their profession would have limited them. Dickens, one of Karl Marx's favorite writers, offers the archetype of Victorian social cartography. Sure, you've got your Lord and Lady Dedlock in Bleak House, but more often the aristocrats resemble the generic Oodle and Boodle and Noodle, who in Little Dorrit form a kind of choral backdrop to a foreground of slums and inventors' workshops and banks and debtors' prisons.
To really get your fill of the aristocracy in between visits to Downton, you might look to the second tier of the 19th-century canon. There's Eliot's brilliant but flawed Daniel Deronda; there are Trollope's Palliser novels and some of the Barsetshire ones. (There are also glimmerings of nobility throughout the top-shelf corpus of that American interloper, Henry James.)
Or, interestingly, you could just move on to the 20th century, in whose early years Downton Abbey is set. For here and only here, with the aristocracy in decline, does it move to the center of the English novel. (I guess you don't really miss something until it's gone.) Waugh's Brideshead Revisited and Ford Madox Ford's Parade's End are palpably influences on Downton Abbey. In each, a sense of nostalgia for the days of real privilege hang heavy; in each the shifting sands under the aristocracy's castles are viewed through the prism of war. Portions of Anthony Powell's A Dance to the Music Of Time likewise concern the titled classes. I've not read At Lady Molly's, but I might well be forced to turn to it a couple of months from now, when I'm once again going through Downton Withdrawal. Perhaps the single most Downton-y book I know of -- I'd be shocked if Mr. Fellowes (er…Sir Julian) hadn't read it -- is Henry Green's miraculous short novel Loving, from 1945. Green's beautifully impacted idiom is short on exposition, and when I picked up Loving a few weeks ago, I found it enriched by the hours I'd spent in Fellowes' world. That is, I suddenly understood the difference between a head housemaid and a lady's maid.
The two most astute novelists of class currently working in England, I think, are Edward St. Aubyn and Alan Hollinghurst. St. Aubyn hails from the social stratosphere himself, and the terrific first three novels in his Patrick Melrose cycle -- Never Mind, Bad News, and Some Hope -- detail what's happened to the Granthams of the world three or four generations on from Downton. Spoiler alert: the titles and the dough still linger, but the culture has moved on, leaving in its wake terrible boredom and worse behavior. Hollinghurst's finest novel, The Line of Beauty, can't properly be said to center on the aristocracy, but retains some of Waugh's nostalgia (and much of the flavor of mid-to-late period James). Who has replaced the hereditary nobility, at the top of Margaret Thatcher's England? Callow politicians and oil millionaires. Still, like a title and a castle, parliamentary clout and petro-pounds are not available to everyone, and so our protagonist, Nick Guest, occupies a familiar position: nose pressed to the glass.
In the end, this is the secret to Downton Abbey's success, as well. The glamour of the earldom draws us in, but it's the vividly realized characters who surround it -- especially the servants below-stairs -- that hold it in perspective, and so give it life. We live now in the Age of Austerity, and as a sometime practitioner of what Romney has called "the bitter politics of envy," I feel a little weird being enthralled with this show. But then I look at what else my poor TV has to offer, and I find myself murmuring, Burgundy-style, "Stay classy, Downton!"
Wanting it Bad: The Marriage Plot by Jeffrey Eugenides
I read Middlesex in 2002 as a college sophomore. I read it again in 2004, and probably two or three times after that. In early 2007, I went into a bookstore and, looking helplessly at the stacks of new releases, asked when there was going to be another one from Jeffrey Eugenides. It was the first time in my life I felt impatient for a book I wasn't sure had been written or was going to be.
Unlike childhood and adolescence, which are a sustained exercise in waiting -- you count the hours till your TV show, the days till your sleepover, the years till you turn eleven -- the adult self has a different relationship with anticipation. If you are not The Marriage Plot's Leonard, for whom there is no baseline of normalcy, if you are not in flux and falling in love or out of love or into some tragedy, the pangs of anticipation lose their childhood acuity and become muddled with complexities. So it is a rare pleasure to wait for something with that pure and uncomplicated eagerness. I carried this book around in my bag all day, waiting for the moment to open it. I went to a meeting and as I half-listened I moved my hands over the smooth pages with near-erotic pleasure. Perhaps I was just channeling a zeitgeisty fetishization of the endangered physical book. But I think it is more the relief born of nine years of waiting. "Waiting is an enchantment," writes Roland Barthes in The Lover's Discourse, to which Eugenides's heroine Madeleine transfers all of her anxieties about her aloof lover Leonard; "The Festivity is what is waited for."
I waited for this book, Madeleine waits for Leonard, Leonard waits for his side effects to dissipate, Mitchell waits for Madeleine, and also for a variety of religious experience. Madeleine is pretty, and smart, and rich, and "slightly anxious." Leonard is maybe smarter, definitely poorer, and worse, sick. The hangover of Madeleine and Leonard's great Festivity is the grim reality of Leonard's mental illness. Madeleine is with Leonard through his illness, ostensibly because she loves him, also because she didn't get into grad school and she's not sure what to do. Eugenides describes with convincing and heartrending detail a Leonard in thrall to his lithium, a prisoner whose act of liberation is the heroic and misguided recalibration of his meds leading to a spectacular crack-up. Meanwhile, Mitchell travels through Europe and India pining for Madeleine and the Lord.
In some respects, Madeleine is a surface upon which people project their respective wills. Everyone knows that Madeleine is bookish, but we only hear her discussing her actual books of interest with other young women at a conference. We don't know why Mitchell and Leonard love her exactly, except that she is beautiful, with clean sheets, full of (mostly unspoken) bookish thoughts. Mitchell spends years mesmerized by the memory of a glimpse of her "pale, quiet, Episcopalian breast."
Eugenides is kinder to Madeleine than I, out of envy, might be inclined. The year I read Middlesex was the year my boyfriend, a student at Brown University, broke up with me. During my weekend visits, Brown seemed to teem with beautiful women who exuded the possibility of "clean-sheet Wednesday," and who didn't bouy the spirit with intimations of their stupidity. This book could have been an act of vengeance on girls who are pretty and thin and rich and go to good schools and read novels and have sex, but not too much sex or too soon. But even I don't hate Madeleine. Leonard is most blameless and deserving of sympathy in the novel -- his illness is a real and perpetual problem, a horse on his chest. And yet I guiltily celebrated when Madeleine met her intellectual compatriots for a few short days at the conference, or when she kissed Mitchell on a French leave to New York.
The novel invites us to like Madeleine; the novel, like Mitchell, loves Madeleine in spite of her being, and probably because she is, a "Fortnum & Mason's drinker, her favorite blend Earl Grey. She didn't just dump a bag in a cup, either, but brewed loose leaves, using a strainer and a tea cozy." Mitchell describes his problem of being subsumed in the Godhead thus: "it was hard to kill your self off when you liked so many things about it." We might say the same thing about Madeleine. The liberally-distributed acidity and self-loathing of Jonathan Franzen -- and I cannot fail to compare the two after reading Evan Hughes's illuminating piece on the fraternity of contemporary heavy-hitters -- is a contrast to the more benign treatment found here. (Of the primary characters, that is. The supporting cast -- Larry, Claire, Thurston, Abby -- are intensely unlikable).
The Marriage Plot is a nod to the humanity of sexy women who feel like lumpen embarrassments around the right kind of man. It's a nod only, though; we hear about Madeleine's bowel movements through their absence, revealed by the interrogation of Leonard. We do not see her sneak off to to take an anxious crap, the way we do Leonard. Madeleine's WASP mystique largely endures.
That Madeleine is a WASP is put forth ad nauseam. When Madeleine takes Mitchell home for a fateful Thanksgiving, she brings volume 1 of A Dance to the Music of Time, which, like The Marriage Plot, is a both a witty society novel and a work whose great depth belies its light touch. Like a Powell character, Madeleine lives in rarefied air, with rarefied people like Pookie Ames surfacing here and there at Brown and in New York. Unlike in a Powell novel, the class markers occasionally jangle. Madeleine's father, Alton, begins a graduation weekend hotel strategy session with "When your cousin graduated from Williams..." Alton's "voice was surprisingly good; he'd been in an a capella singing group at Yale." Madeleine comes to Mitchell's guest room "dressed in a Lawrenceville T-shirt and nothing else." Perhaps these last two are Mitchell's Detroiter observations more than the novel's, but they sometimes grate.
I can't know anything about the author's process, but The Marriage Plot must have been daunting to visualize and see through after Middlesex, which was built on the rock of historical adventure, unusual genitals, and the American dream. Eugenides has taken a risk with this novel, with his knowing tone and his aggressive syllabus. I found the first page repellent in its presentation of Madeleine's shelf list -- the "Colette novels she read on the sly" and "the first edition of Couples, belonging to her mother, which Madeleine had surreptitiously dipped into back in sixth grade and which she was using now to provide textual support in her English honors thesis..." I was happy when we got to the good stuff, like a hangover.
But Eugenides knows what he is doing. At first, the heavy reading list and ponderous references are pompous, like a student who has done her homework and is trying to drop some pithy stuff into the class discussion. On its face, The Marriage Plot appears to be a novel that mentions a lot of novels without talking about any of them. These facile, knowing references disguise the sly ways that this novel engages with its predecessors.
Eugenides layers his allusions in an exciting and well-concealed way so that viewed from one angle, the novel is a relatively old-fashioned love-triangle cum young adult drama. But the novel is full of parallels and inversions, using its sources on a number of levels. As the novel opens, we look at Madeleine's shelves, upon which are arranged the novels of Wharton, Austen, Eliot, "and the redoubtable Brontë sisters." But, it's immediately clear, Madeleine is no Lily Bart, no Ellen Olenska. She's May Welland, Emma Woodhouse. As The Marriage Plot continues, she becomes Dorothea Brooke or Jane Eyre.
At the end of her own novel, saintly Jane Eyre tells us that "my time and cares were now required by another -- my husband needed them all," a moment with clear echoes in Eugenides's book. Jane looks after her maimed husband, but her narrative closes with St. John Rivers, gone to India where he
...clears their painful way to improvement: he hews down like a giant the prejudices of creed and caste that encumber it...His is the ambition of the high master-spirit, which aims to fill a place in the first rank of those who are redeemed from the earth -- who stand without fault before the throne of God; who share the last mighty victories of the Lamb; who are called, and chosen, and faithful.
Mitchell's Calcutta gross-outs, his religious yearnings, his bhang enthusiasms, are a new take on the monastic St. John.
This novel is a surface upon which we might project the other novels we have read; Eugenides invites us so to do. In Calcutta, all Mitchell sees of Mother Teresa are the yellow soles of her feet, and I thought of T.S. Eliot: "You curled the papers from your hair,/ Or clasped the yellow soles of feet/ In the palms of both soiled hands." Mitchell and Madeleine return from Thanksgiving, "walked together up College Hill, hugged, and parted," which conjures a vague jumble of 19th century and earlier works in my brain. Every fictional hangover past 1954 owes something to the ur-hangover of Jim Dixon in Lucky Jim. Like Jim, Madeleine has to perform a duty with a blinding hangover after a night of bad sexual decisions. Like Jim, she enlists a person whom she has wronged to help her. The echoes are so subtle I heard them only after I had finished the book. Maybe I'm reaching, but I think the novel encourages us to reach. Eugenides's characters appear to have read everything; we assume that he has read everything, and more.
I initially wondered if, with this book, Eugenides will alienate readers who are not readers like the readers in his novel. I doubt it, because I'm not a reader like the readers in his novel, not by a long shot, and even without having read Thomas Merton or Deleuze & Guattari I can follow and enjoy a story about a pretty girl, a crazy boy, and a pining best friend.
Madeleine's Semiotics 211 classmates like the theorists who "wanted a book, that hard-won, transcendent thing, to be a text, contingent, indeterminate, and open for suggestions. They wanted the reader to be the main thing. Because they were readers." Even though her classmates are silly, they have a point. Like Madeleine, I think of myself as a reading traditionalist, a person who wants "a book to take her places she couldn't go herself" and who additionally wants "something to happen" to its characters "in a place resembling the world." As a reader, I make tea with leaves and tea cozies, and as that kind of reader, this book satisfies me. I have to say that for adventure, pizzazz and magic carpet rides, The Marriage Plot doesn't do it for me like Middlesex. As a book snob, The Marriage Plot does more. I can guess at the references and congratulate myself on recognizing the novel's technical complexity.
But my opinion is like, problematized, as the Semiotics 211 kids might say. I waited for this book. I waited nine years and I wanted it bad. I rubbed my hands and its pages and fondled it and felt a physical stirring. Getting what you wait for makes the awaited thing both better and worse than it is. Was it good for me, this book? Yeah, it was good. It surprised me; it got me thinking about the things that Eugenides can do as a writer. The poor man doesn't even get to bask a moment in his achievement before his fans are impatient for the next thing. I begin the long wait anew.
Bonus Link: Jeffrey Eugenides explains "How I Learned To Stop Worrying And Write The Marriage Plot."
Image credit: Bill Morris/billmorris52@gmail.com.
Poetic Notions: Martha Cooley’s The Archivist
I have been reading restlessly all day today. In bed, on the couch, at the restaurant, at the dining table. I woke up and I finished the last twenty pages of the first movement of Anthony Powell’s A Dance to the Music of Time. Without once resorting to poetics or philosophizing, these three volumes managed to touch on so many true things about humans, through upturned sugar bowls, motor car accidents, and comical overcoats. It was magnificent to go to Mrs. Andriadis’s party, which I had to hurriedly leave before I was connected to the agitated Mr. Deacon, who dropped his armload of “War Never Pays!” pamphlets as he pursued Max Pilgrim down the stairs. But as that first movement came to a close, I felt some relief that I was temporarily cut off from Jenkins, Widmerpool, Templer, and Stringham – delicious, Britishy-British names, all of them – until I would be able to get the second movement. I needed a break from so thoroughly living other people’s lives.
I turned to The Archivist, by Martha Cooley. I bought it used at Kultura’s Books, near Dupont Circle, and I did not have high expectations because I had seen the book before, disliking the cover and for some unclear reason, the title. But it was the only book on my bookshelf that seemed an antidote to the hectic pace of the pre-WWII British society that had absorbed me for so many weeks. The Archivist was elegant and it shot me through with poetry.
No light under my fingers.
Where the grey light meets the green air.
Humility is endless.
The memory throws up high and dry
A crowd of twisted things
Most of the poetry Cooley quotes is T.S. Eliot, with sprinklings of LeRoi Jones (or as I know him: Amiri Baraka) and others. I read the book as I walked from lunch to another Washington, DC bookstore, “Second Story Books,” in order to buy a copy of Eliot’s “Four Quartets.” A friend once characterized his relationship with poetry as infrequent, intense, and somewhat involuntary; my relationship is the same. Its ignition is unexpected and, once commenced, frenetic – like the way my dog runs at top speed in tiny circles when I sometimes manage to sneak up on him and poke him in his haunches. This ignition occurs at odd moments: I might be sitting in an office or standing at a party, when I am seized with this need for words in sentences that I don’t have to analyze or fully understand. Cooley describes this feeling better:
For me, reading Eliot’s work is like trying to intercept a butterfly. It comes so close you can see its markings, the luminous wings, and then as you extend a hand it’s gone – hidden among other flickering objects of consciousness. There’s a pleasure in this approximation, I suppose, and even in the failure to apprehend. I don’t mind the obscurity of Eliot’s verse. (What good, after all, is an insect pinned on velvet, gorgeous but dead?)
Although a critic on the back cover calls it a “literary detective story,” the story of archivist Matthias, his relationship to a wife he has to commit to a mental institution, and his safeguarding of a collection of not-yet-public Eliot letters is more a poetic love story. The way Matthias describes meeting his wife, Judith, is irresistible to any romantic who loves words and fancies intellectuals. He meets her in a jazz bar, where she is reading a book of Auden poems. He asks her which poem she is reading and she hands him the open book to read where her finger points. I love this scene for its uncute meet-cute quality, for its spare but punchy dialogue.
At times the book, through Ondaatje-esque short sentences and heavy pauses, is too weighed down by Judith’s depression and Matthias’s detachment. They struggle to maintain their marriage as she becomes violent and obsessed with events following World War II. I grew fidgety in the middle, where the book became the diary that Judith kept while at the mental institution. Matthias and his post-Judith dealings, along with his narration, were more compelling to me. Still, each character is intelligent and lean enough that I forgave them for exploiting my weakness for those Ondaatje-esque short sentences and heavy pauses.
But the real value of the book is its ardent advocacy of poetry, and T.S. Eliot’s poetry in particular. If you were ever forced to read "The Love Song of J. Alfred Prufrock" in high school and you fell in love with those words, then The Archivist will compel you to read them again.
And time yet for a hundred indecisions,
Do I dare
Disturb the universe?
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
And after the all-absorbing society of Powell, after his truths distilled in teacups, after the skirts that trail along the floor, I found a different kind of pleasure in Eliot’s painful, beautiful questions and contradictions. I end my day full, in quiet.
We must be still and still moving
Into another intensity
Staff Picks: Brooks, Richler, Snow, Codrescu, Waller
The "staff picks" shelf in any good independent bookstore is a treasure trove of book recommendations. Unmoored from media hype and even timeliness, these books are championed by trusted fellow readers. With many former (and current) booksellers in our ranks, we offer our own "Staff Picks" in a feature appearing irregularly.The Moves Make the Man by Bruce Brooks recommended by GarthIt's been a long time since I read this 1984 coming-of-age novel, but its indelible images - the green glass of Mello Yello bottles, the soggy crackers used to make home-ec mock-apple pie, the railroad lantern by whose light the protagonists play night games of pickup basketball - remain seared into my memory. Author Bruce Brooks, a graduate of the Iowa Writers Workshop, combines descriptive mastery with the kind of compassion that can't be taught. His story of an unlikely friendship also complicates some of our cherished myths about race and privilege. Though The Moves Make the Man, a Newbery Honor winner, might be slotted into young adult and sportswriting and Southern lit categories, it is no more a niche work than The Bluest Eye, or A Fan's Notes, or To Kill a Mockingbird, in whose illustrious company it belongs.Barney's Version by Mordecai Richler recommended by AndrewRichler's final novel, Barney's Version is a savagely funny piece of satire. It's also quite moving as it sweeps you through one man's life. Frank and cantankerous, Barney Panofsky lays bare his failed marriages, his work, and his possible crimes and misdemeanors. Somewhat unreliable as a narrator, Barney's memories are annotated by his son Michael, who provides clarification and correction to his father's version of events. Whenever I hear that a film adaptation of a beloved novel is in the works, I usually brace myself for disappointment, but with Paul Giamatti and Dustin Hoffman signed on to play the principal roles, I'm actually looking forward to this one.The Strangers and Brothers series by C. P. Snow recommended by LydiaThis sequence of novels, beginning with A Time of Hope, takes place in England from World War One to the sixties. I haven't actually finished the series; I've only gotten through four out of a possible eleven. I'm a finisher, though, with the exception of Moby Dick on tape, The Alexandria Quartet, and Ulysses (fucking Ulysses, actually), so I am hoping for a completion date sometime before the autumn of my years.I was overjoyed to learn of the existence of these books. I love novel series, and it is my dream to find another Dance to the Music of Time. Or at least a Forsyte Saga. Or at the absolute least, the one with the cave bears. As it happens, C. P. Snow sits somewhere on the spectrum between Powell and Auel. The books are not nearly so delightful as Dance to the Music of Time, but I am nevertheless enjoying them quite a bit. They relate the life of a middle-class man of limited means, who rises to great heights in several professions. It's a good chronicle of several English epochs and the attitudes found therein. The subject matter is not always riveting, but the books are quite readable. I realize that this doesn't exactly sound like a ringing endorsement, but most of the books I love have already been ringing-ly endorsed by someone else, and these are a step or two off the beaten path. So this is me, endorsing.The Posthuman Dada Guide by Andrei Codrescu recommended by AnneDada wisdom, divined by Andrei Codrescu and dispersed throughout this guide includes: take a pseudonym (or many); embrace spam email as a form of cut-up poetry; and remember that "the only viable Dada is the banished Dada." Codrescu posits with wit that as creatures of the digital age, whose lives are beholden to IMs, email, iPhones, Google, and Facebook, we have entered a posthuman era where employing Dada's nonsense actually makes sense. Beginning with an imagined chess game in 1916 Zurich between Dada founder and poet Tristan Tzara and revolutionary Vladimir Lenin, Codrescu traces Dada from its nascence to show how Tzara and his rabble-rousers usurped and altered the course of twentieth-century thought. Dada resists meaning and revels in absurdity, and Codrescu would be the first to acknowledge this book doesn't provide a list of how-to's but rather resembles a nautical map that charts the currents of our times. "It is not advisable, nor was it ever, to lead a Dada life," Codrescu warns. And for that reason alone, you just might want to try it.The Magnificent Mrs. Tennant by David Waller recommended by EmilyHow delightful to find a learned book that wears its scholarliness lightly: David Waller's lovely new biography of the Victorian grande dame and salonniere Gertrude Tennant is such a book. Because the magnificent subject of Waller's book lived from the end of the age of Jane Austen through the First World War, and lived both in France and in England, her biography offers a sort of intimate history of the nineteenth and early twentieth centuries - its personalities and intellectual and cultural history. The famous and controversial explorer Henry Morton Stanley attended Mrs. Tennant's salons (the horrors of his expeditions to Africa are thought to have been among Conrad's models for Heart of Darkness), as did Labor Prime Minister William Gladstone, the famous Victorian painter John Everett Millais, and literary luminaries like Mark Twain, Oscar Wilde, Gustave Flaubert, Victor Hugo, Henry James, Robert Browning, and Ivan Turgenev.Her acquaintance was a motley of all the aesthetic and intellectual trends of the age: Imperialist explorers, socialists, anarchists, ex-emperors, Romantic and realist novelists, mediums and experts in telepathy all passed through Mrs. Tennant's drawing room. Her allure as a biographical subject, however, is not limited to her extensive acquaintance: Tennant's ability to balance her absolute commitments to her husband and children with her gifts for friendship and graciousness and her interest in social and cultural life reveal a more nuanced view of the age, and of the possibilities available to Victorian women. Tennant was a cosmopolitan, a woman of the world, and "an angel in the house" (as the Victorian ideal of wifely and motherly virtue came to be known). Waller trusts Tennant to express herself; he quotes extensively from her diaries and letters. Her voice is earnest, warm, unpretentious, intelligent, loving. You will be glad to have met her. And you will see, through her life, a more refined view of English nineteenth century social and intellectual history.
A Year in Reading: Arthur Phillips
Arthur Phillips is the bestselling author of The Egyptologist and Prague, which was a New York Times Notable Book and winner of the Los Angeles Times Art Seidenbaum Award for First Fiction. His most recent novel, Angelica, comes out in paperback in February.I admit to having bought a book for its cover. For years I had seen the four spines of Anthony Powell's A Dance to the Music of Time lined up on bookstore shelves and admired them, wished the spines - which together form a Poussin painting - were up on my own. And so I bought the first book, dove in for no reason except coveting the covering, without having any idea what I was about to read.I emerged from the fourth volume six months later, having read nothing but Powell in the intervening time, and having completed one of the great reading experiences of my life, truly distraught that it was over.Pretentious claim, for which I apologize, but here it is: a few years earlier, I read the whole damn In Search of Lost Time (or whatever you want to call it), and the payoff at its end, after all the toil and pleasure, is no more powerful than a similar payoff at the end of Powell. You finish both with the sensation of having spent a long lifetime at the side of the narrator. You have the same feeling of nostalgia, profundity, passing years, lives led and finished, the power of a master of letters guiding you to the illusion of lived experience.That said, Powell is also funny, really funny, which is a claim I do not think can be made for Proust without straining something - credulity or a groin muscle.More from A Year in Reading 2007














