Charles Bock was born in Las Vegas, Nevada. He has an MFA from Bennington College, and has received fellowships from Yaddo, Ucross, and the Vermont Studio Center. He lives in New York City and is the author of the runaway New York Times bestseller Beautiful Children. Visit his website at www.beautifulchildren.net.After I turned in my list, the editor of this blog asked for 100 words on one or two of the books. I was resistant because the request immediately would place that book as my fave or as better than the others. Which it would not be. The books on this list all thrilled and impressed me. They all deserve attention, would be a treat for your eyes. Seriously, If you are looking for something to read, you can't go wrong with anything on my list. Still, I decided to be agreeable. A hundred words is not a lot.So: the book with the lowest profile. The Hammer of God: The Art of Malleus Rock Lab. Malleus actually refers to a trio of Italian rock poster artists; this anthology of the work they've done in their six years together as a poster collective. Fucking amazing. The art in this book is sensuous and dreamlike and tinged with erotic dread and longing. Most of the posters cannot be done justice by words (at least not by me). But here's an attempt at describing what's inside, or a taste of it, anyway: A Queens of the Stone Age poster. A renaissance-era, very sexy looking Mary Magdaline-type woman. Her head is surrounded by rays of sunlight. She looking to heaven, and is crying. We see her robe opened; her chastity belt. We see her standing knee high in keys that don't work.That, my friends, is genius.Okay, now to the other genius-ey works I was exposed to in 2008:A Person of Interest by Susan ChoiThe 19th Wife by David EbershoffBlindness by Jose SaramagoStoner by John WilliamsSlash by SlashSick: The Untold Story of America's Health Care Crisis by Jonathan CohnLush Life Richard PriceGo With Me by Castle Freeman Jr.Black Flies by Shannon BurkeState by State: A Panoramic Portrait of America edited by Matt Weiland and Sean WilseyBloodletting and Other Miraculous Cures: short stories by Vincent LamFarewell Navigator stories by Leni ZumasMore from A Year in Reading 2008
A few weeks back, in a review of Christopher Sorrentino's Trance, I remarked upon the recent proliferation of novels about the counterculture of the 1960s and about its turn toward violence. The book reviews in this week's New Yorker would seem to confirm the trend. The lead item in the "Briefly Noted" column concerns Susan Choi's A Person of Interest, which takes as its point of departure a fictional version of the Unabomber case. Meanwhile, in an essay generous in both length and tone, James Wood reviews Peter Carey's His Illegal Self (about the child of SDS radicals) and Hari Kunzru's My Revolutions (about "swinging London's" revolutionary underground.)Wood suggests, with characteristic perspicuity, that the Age of Aquarius offers novelists room to explore "ideological radicalism" without having to address September 11 and political Islam. To which I say: Right on! As we at The Millions have noted before, the world-historical developments of the last decade seem to demand novelistic attention; at the same time, they've become so freighted with symbolic and ideological meaning as to seem inhospitable to levity, or irony. DeLillo's Falling Man, to name one September 11 title, was hobbled by its temporal and emotional proximity to the events it considered. The farther it drifted from these events, the more alive its characters seemed.It's worth noting, however, that the historical attraction of the Age of Aquarius predates the explosion of "ideological radicalism" into the public consciousness, circa 2001. Sorrentino, Choi, and (I'm guessing) Dana Spiotta began writing about the radical underground way back in the Clinton era, which marked, we were told, "the end of history." Which points to another, related reason why contemporary novelists may find the '60s so fertile. That was a time, it seems, when a classless society actually seemed like an achievable goal... when it was possible to argue, with a straight face, that "All you need is love." For a writer concerned to dramatize ideas, this sort of political ardor is hard to resist. (Think, e.g., of Dostoevsky.) Nowadays, as Hari Kunzru's narrator remarks, "Ideology's dead.... Everyone pretty much agrees on how to run things."