About Three Bricks Shy: And The Load Filled Up

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January Pure Wit by Francesca Peacock [NF] I first learned about the life and work of seventeenth-century writer and philosopher Margaret Cavendish in Regan Penaluna's stellar study of women thinkers, and I've been dying to read a biography of Cavendish ever since. And I'm in luck (all of us are) thanks to biographer Peacock. A proto-feminist, science-fiction pioneer, and divisive public figure, Cavendish is endlessly fascinating, and Peacock's debut gives her the rigorous, in-depth treatment that she deserves. —Sophia M. Stewart Nonfiction by Julie Myerson [F] A blurb from Rachel Cusk is just about all it takes to get me excited about a book, so when I saw that Cusk called Myerson's latest novel "glitteringly painful," "steady and clear," and "the book [Myerson] was intended to write," I was sold. A tale of art, addiction, and the ties that bind mothers and daughters, Nonfiction promises to devastate. —SMS Immediacy by Anna Kornbluh [NF] Did the pandemic kill postmodernism? And what comes after the end of history? University of Illinois–Chicago professor Kornbluh dubs our contemporary style “immediacy,” characterized by same-day delivery, bingeable multimedia, and real-time news updates that spin the economic flywheel ever faster. Kornbluh names this state of emergence and emergency, and suggests potential off-ramps in the direction of calm reflection, measured art-making, and, just maybe, collective wisdom. —Nathalie op de Beeck Slow Down by Kōhei Saitō, tr. Brian Bergstrom [NF] In this internationally-bestselling treatise, Japanese philosopher Saitō argues against "sustainable growth" in favor of degrowth—the slowing of economic activity—which he sees at the only way to address the twinned crises of inequality and climate change. Saitō's proposal is simple, salient, and adapts Marx for the modern day. —SMS Relic by Ed Simon [NF] From Millions alum Simon comes a slim study of the objects we imbue with religious (or quasi-religious) meaning, from the bone of a Catholic martyr to Jimi Hendrix's guitar pick. Bloomsbury's Object Lessons series never misses, and Relic is one of the series' most unconventional—and compelling—entries yet. —SMS Filterworld by Kyle Chayka [NF] The outline of reality has become increasingly blurry as the real world melds with the digital one, becoming what Chayka, staff writer at the New Yorker, calls “Filterworld,” a society built on a foundation of ever-evolving algorithms. In his book of the same name, Chayka calls out the all-powerful algorithm, which he argues is the driving force behind current and accelerating trends in art, consumption, and ethics. —Daniella Fishman Portrait of a Body by Julie Delporte, tr. Helge Dascher and Karen Houle [NF] A gripping narrative of coming to terms with her queer identity, Canadian cartoonist Delporte's latest graphic memoir—praised by Eileen Myles and Fariha Róisín—sees Delporte learning to embrace herself in both physical and metaphysical ways. Dreamy colored pencil illustrations and gently flowing storytelling capture the beauty, trauma, and ultimate tranquility that comes with learning to exist on your own terms. —DF Beautyland by Marie-Helene Bertino [F] In Bertino’s latest novel, following 2020's Parakeet, the launch of Voyager 1 into space coincides with the birth of Adina Giorno, who, much like the solitary satellite, is in search of something she can't yet see. As a child, she senses that she is not of this world and struggles to make a life for herself amid the drudgery of human existence. Playing on Adina's alienness as both a metaphor and a reality, Bertino asks, “Are we really alone?” —DF The Last Fire Season by Manjula Martin [NF] Martin returns ablaze in her latest memoir, pitched as "H Is for Hawk meets Joan Didion in the Pyrocene." Following an anguishing chronic pain diagnosis, Martin attempts to reconnect with her beloved Northern California wilderness in order to escape not only her deteriorating health but a deteriorating world, which has ignited around her in the worst fire season California has ever seen. Devastating and ambivalent, The Last Fire Season tries to sift through the ashes of climate change. —DF The Furies by Elizabeth Flock [NF] Violence by women—its role, its potential righteousness—is the focus of Flock's latest. Following the real-life cases of a young rape survivor in Alabama, a predator-punishing gang leader in India, and an anti-ISIS militia fighter in Syria, Flock considers how women have used lethal force as a means to power, safety, and freedom amid misogynistic threats and oppression. Is violence ever the answer? Flock looks to three parallel lives for guidance. —SMS Imagining the Method by Justin Owen Rawlins [NF] University of Tulsa professor Rawlins demystifies that most celebrated (and controversial) acting school, challenging our contemporary conceptions of screen performance. I was sold the moment I saw Rawlins received the ultimate stamp of approval from Isaac Butler, author of the definitive account of method acting: "If you care about the evolution of twentieth-century screen performance, you should read this book." —SMS We Are Free to Change the World by Lyndsey Stonebridge [NF] Famed twentieth-century philosopher and political theorist Hannah Arendt wrote passionately about power, freedom, and inequality against the backdrop of fascism—a project as relevant today as it ever was. Stonebridge, a professor of humanities and human rights, revisits the lessons of Arendt's writings and applies them to the twenty-first century, creating a dialogue between past, present, and future. —DF Walter Benjamin Stares at the Sea by C.D. Rose [F] In these 19 short stories, Rose meditates on philosophy, photography, and literature. Blending erudition and entertainment, Rose's fables follow writers, teachers, and artists through various situations—and in a standout story, imagines how St. Augustine would fare on Twitter. —DF Black Women Taught Us by Jenn M. Jackson [NF] Jackson's debut book foregrounds the work of Black feminist writers and leaders—from Ida B. Wells and Harriet Jacobs to Shirley Chisholm and bell hooks—throughout American history, revealing the centuries-long role that Black women have played in imagining and fighting for a more just society. Imani Perry calls Jackson "a beautiful writer and excellent scholar." —SMS The Bullet Swallower by Elizabeth Gonzalez James [F] Pitched as Cormac McCarthy meets Gabriel García Márquez (yeesh!), The Bullet Swallower is the second novel (after Mona at Sea) from Elizabeth Gonzalez James, who also wrote the weird and wonderful essay/play Five Conversations About Peter Sellers. Infusing the spaghetti western with magical realism, the novel follows a Mexican bandito on a cosmic journey generations in the making. —SMS Last Acts by Alexander Sammartino [F] In Sammartino's debut novel, the owner of a gun store hatches a plan to resurrect his struggling business following his son's near-death experience. George Saunders, Mary Karr, and Nana Kwame Adjei-Brenyah have all heaped on praise, and Jenny Offill finds it "hard to believe Last Acts is a first novel." —SMS I Sing to Use the Waiting by Zachary Pace [NF] Pace fuses memoir and criticism (my favorite combination) to explore the emotional and cultural impacts of women singers across time, from Cat Power and Rihanna to Kim Gordon and Whitney Houston. A queer coming-of-age story that centers the power of music and the legacies of women artists. —SMS Dead in Long Beach, California by Venita Blackburn [F] Blackburn, the author of the stellar story collections Black Jesus and Other Superheroes and How to Wrestle a Girl, delivers a debut novel about storytelling and unreality, centering on a successful novelist who gets hold of her dead brother's phone—and starts answering texts as him. Kristen Arnett calls this one "a bonafide knockout" that "rewired my brain." —SMS Everyone Who Is Gone Is Here by Jonathan Blitzer [N] New Yorker staff writer Blitzer traces the harrowing history of the humanitarian crisis at the U.S.-Mexico border, foregrounding the stories of Central American migrants whose lives have been threatened and upended by political tumult. A nuanced, layered, and rigorously reported portrait that Patrick Radden Keefe hails as "extraordinary." —SMS The Survivors of the Clotilda by Hannah Durkin [NF] Durkin, a British historian, explores the lives of 103 Africans who were kidnapped and transported on the last slave ship to dock in the U.S., shortly before the Civil War began in 1861. Many of these captives were children, and thus lived their lives against a dramatic backdrop, from the Civil War all the way up to the dawn of the Civil Rights movement. What these people experienced and how they prevailed should intrigue anybody interested in learning more about our nation’s darkest chapter. —Claire Kirch Your Utopia by Bora Chung, tr. Anton Hur [F] Following her acclaimed sophomore novel The Cursed Bunny, Chung returns with more tales from the realm of the uncanny. Covering everything from unruly AI to the quest for immortality to the environmental destruction caused by capitalism, Chung’s story collection promises more of the mystifying, horror-filled goodness that has become her calling card. —DF The Rebel's Clinic by Adam Shatz [NF] Frantz Fanon—political philosopher, psychiatrist, and author of the trailblazing Black Skin, White Masks and The Wretched of the Earth—is one of the most important writers and thinkers of the postcolonial era, and his work continues to inform contemporary thinking on race, capitalism, and power. In this sprawling biography, Shatz affirms Fanon's place as a towering intellect and groundbreaking activist. —SMS You Dreamed of Empires by Álvaro Enrigue, tr. Natasha Wimmer [F] Enrigue's latest novel, following Sudden Death, reimagines the fateful 1519 invasion of Tenochtitlan (now Mexico City) by Spanish conquistador Hernán Cortés. With exuberant style, and in a lively translation by Wimmer, Enrigue brings the Aztec capital and the emperor Moctezuma to vibrant life—and rewrites their destinies. —SMS February Love Novel by Ivana Sajko, tr. by Mima Simić [F] Croatian literature may lag behind its Russian, Hungarian, Polish, and Ukrainian counterparts—roughly in that order—as far as stateside recognition goes, but we all make mistakes. Just like couples do in love and under capitalism. “A war between kitchen and bedroom,” as the liner notes read, would have been enough to sell me, but that war’s combatants, “an unemployed Dante scholar” and “a passable actress,” really sealed the deal. —John H. Maher The Unforgivable by Cristina Campo, tr. Alex Andriesse [NF] This new NYRB edition, introduced by Kathryn Davis, brings together all of the essays Campo published in her lifetime, plus a selection of additional essays and autofiction. The result is a robust introduction to a stylish—but largely forgotten—Italian writer whose "creativity was a vocation in the truest sense," per Jhumpa Lahiri. —SMS Alphabetical Diaries by Sheila Heti [NF] Last year, I was enraptured by Heti's limited-run New York Times newsletter in which she alphabetized sentences from 10 years' worth of her diary entries—and this year, we can finally enjoy the sublime results of that experiment in book form. This is my favorite work of Heti's, full stop. —SMS Dinner on Monster Island by Tania De Rozario [NF] Blending film criticism, social commentary, and personal narrative, De Rozario (most recently the author of the Lambda Literary Award–nominated And the Walls Came Crumbling Down) explores her experience growing up queer, brown, and fat in Singapore, from suffering through a "gay-exorcism" to finding solace in horror films like Carrie. —SMS Wrong Norma by Anne Carson [NF] Everyone shut up—Anne Carson is speaking! This glistening new collection of drawings and musings from Carson is her first original work since the 2016 poetry collection Float. In Carson's own words, the collection touches on such disparate topics (she stresses they are "not linked") as Joseph Conrad, Roget's Thesaurus, snow, Guantánamo, and "my Dad." —DF Self-Portraits: Stories by Osamu Dazai, tr. Ralph McCarthy [F] Japanese writer Dazai had quite the moment in 2023, and that moment looks likely to continue into the new year. Self-Portraits is a collection of short autofiction in the signature melancholic cadence which so many Anglophone readers have come to love. Meditating on themes of hypocrisy, irony, nihilism—all with a touch of self-deprecating humor—Dazai’s work will either pull you out of a deep depression or crack your rose-colored glasses; there is no in-between. —DF Imagination by Ruha Benjamin [NF] Visionary imagination is essential for justice and a sustainable future, argues Benjamin, a Princeton professor of African American studies and founder of the Ida B. Wells Just Data Lab. In her treatise, she reminds readers of the human capacity for creativity, and she believes failures of imagination that lead to inequity can be remedied. In place of quasi-utopian gambles that widen wealth gaps and prop up the surveillance state, Benjamin recommends dreaming collective and anti-racist social arrangements into being—a message to galvanize readers of adrienne marie brown and Alexis Pauline Gumbs. —SMS Literary Theory for Robots by Dennis Yi Tenen [NF] Artificial intelligence and machine-generated writing are nothing new, and perhaps nothing to fear, argues Tenen, a Columbia English professor and former software engineer. Traveling through time and across the world, Tenen reveals the labor and collaboration behind AI, complicating the knee-jerk (and, frankly, well-founded!) reactions many of us have to programs like ChatGPT. —SMS A Sign of Her Own by Sarah Marsh [F] Alexander Graham Bell is best known as the inventor of the telephone, but what he considered his life's work was the education of deaf children—specifically, the harmful practice of oralism, or the suppression of sign language. Marsh's wonderful debut novel unearths this little-known history and follows a deaf pupil of Bell's as she questions his teachings and reclaims her voice. —SMS Get the Picture by Bianca Bosker [NF] Journalist Bosker, who took readers behind the scenes with oenophiles in her 2017 Cork Dork, turns to avid artists, collectors, and curators for this sensory deep dive. Bosker relies on experiential reporting, and her quest to understand the human passion for visual art finds her apprenticing with creators, schmoozing with galleristas, and minding canonical pieces as a museum guard. —NodB Columbo by Amelie Hastie [NF] Columbo experienced something of a renaissance during the pandemic, with a new generation falling for the rugged, irresistible charms of Peter Falk. Hastie revisits the series, a staple of 70s-era TV, with refreshing rigor and appreciation, tackling questions of stardom, authorship, and the role of television in the process. —SMS Acts of Forgiveness by Maura Cheeks [F] Cheeks's debut novel sounds amazing and so au courant. A woman is elected U.S. president and promises Black Americans that they will receive reparations if they can prove they are descended from slaves. You’d think people would jump on achieving some social justice in the form of cold cash, right? Not Willie Revel’s family, who’d rather she not delve into the family history. This promises to be a provocative read on how the past really isn’t past, no matter how much you run from it. —CK The Sentence by Matthew Baker [F] I minored in Spanish linguistics in college and, as a result, came to love that most useless and rewarding of syntactic exercises, diagramming sentences. So I'm very excited to read Baker's The Sentence, a graphic novel set in an alternate America and comprising single, 6,732-word sentence, diagrammed in full. Syntax wonks, assemble! —SMS Neighbors by Diane Oliver [F] Before her untimely death in 1966 at the age of 22, Oliver wrote stories of race and racism in Jim Crow America characterized by what Dawnie Walton calls "audacity, wit, and wisdom beyond her years." Only four of the 14 stories in Neighbors were published in Oliver's lifetime, and Jamel Brinkley calls the publication of her posthumous debut collection "an important event in African American and American letters." —SMS The Weird Sister Collection by Marisa Crawford [NF] Essayist, poet, and All Our Pretty Songs podcaster Crawford founded the Weird Sister blog in 2014, covering books and pop culture from contemporary young feminists’ and queer perspectives. The now-defunct blog offered literary reviews, Q&As with indie authors, and think pieces on film and music. For this collection, whose foreword comes from Michelle Tea, Crawford gathers favorite pieces from contributors, plus original work with a Weird Sister edge. —NodB Smoke and Ashes by Amitav Ghosh [NF] As research for his Ibis trilogy, Ghosh mapped the opium trade around the world and across centuries. This global and personal history revisits the British Empire’s dependence on Indian opium as a trade good, and how the cultivation of and profits from opium shaped today’s global economy. In his nonfiction The Great Derangement, Ghosh employs personal anecdotes to make sense of larger-scale developments, and Smoke and Ashes promises to connect his own family and identity to today’s corporate, institutional, and environmental realities. —NodB Private Equity by Carrie Sun [NF] In her debut memoir, Sun recounts her time on Wall Street, where she worked as an assistant to a billionaire hedge-fund founder and was forced to rethink everything she thought she knew about work, money, sacrifice, and living a meaningful life. This one sounds like a great read for fans of Anna Wiener's Uncanny Valley (e.g. me). —SMS I Love You So Much It's Killing Us Both by Mariah Stovall [F] When Khaki Oliver receives a letter from her estranged former best friend, she isn’t ready for the onslaught of memories that soon cause her to unravel. A Black Bildungsroman about friendship, fandom, and sanity, I Love You So Much It's Killing Us Both is an unflinching look at "what it means to be young in a hard, and nonetheless beautiful, world," per Vauhini Vara. —Liv Albright Dreaming of Ramadi in Detroit by Aisha Sabatini Sloan [NF] I know from personal experience that anything published by Graywolf Press is going to open my eyes and make me look at the world in a completely different way, so I have high expectations for Sloan’s essays. In this clever collection, a Black creative reflects upon race, art, and pedagogy, and how they relate to one’s life in this crazy country of ours during the time period between the 2016 election and the onset of the pandemic. —CK Language City by Ross Perlin [NF] Perlin travels throughout the most linguistically diverse city on the planet—New York—to chronicle the sounds and speakers of six endangered languages before they die out. A linguist and co-director of the Endangered Language Alliance, Perlin argues for the importance of little-known languages and celebrates the panoply of languages that exists in New York City. —SMS Monkey Grip by Helen Garner [F] A tale as old as time and/or patriarchal sociocultural constructs: a debut novel by a woman is published and the critics don't appreciate it—until later, at least. This proto-autofictional 1977 novel is now considered a classic of Australian "grunge lit," but at the time, it divided critics, probably because it had depictions of drug addiction and sex in it. But Lauren Groff liked it enough to write a foreword, so perhaps the second time really is the charm. —JHM Ours by Phillip B. Williams [F] A conjuror wreaks magical havoc across plantations in antebellum Arkansas and sets up a Brigadoon for the enslaved people she frees before finding that even a mystic haven isn't truly safe from the horrors of the world. What a concept! And a flexible one to boot: if this isn't adapted as a TV series, it would work just as well as an RPG. —JHM Violent Faculties by Charlotte Elsby [F] A philosophy professor influenced by the Marquis de Sade designs a series of experiments to prove its relevance as a discipline, specifically with regard to life and death, a.k.a. Philip Zimbardo (Chopped and Screwed Remix): The Novel. If you ever trusted a philosophy professor with your inner self before—and you probably shouldn't have?—you probably won't after reading this. —JHM American Abductions by Mauro Javier Cárdenas [F] Plagued by data harvesting, constant surveillance, mass deportation, and incarceration, the society at the heart of Cárdenas's new novel is less speculative dystopia than realist reflection. Channeling Philp K. Dick and Samuel Delaney, Cárdenas imagines a society where Latin Americans are systematically expunged. Following the lives of two Columbian-American sisters, one who was deported and one who stayed in the U.S., American Abduction tells a new kind of immigrant story, suffused with mysticism and philosophical rigor. —DF Closures: Heterosexuality and the American Sitcom by Grace Lavery [NF] I took Lavery's class on heterosexuality and sitcoms as an undergrad, and I'm thrilled to see the course's teachings collected in book form. Lavery argues that since its inception the sitcom has depicted heterosexuality as constantly on the verge of collapse, only to be reconstituted at the end of each half-hour episode. A fascinating argument about the cultural project of straightness. —SMS Whiskey Tender by Deborah Taffa [NF] Almost a decade in the making, this memoir from Taffa details generations of Southwest Native history and the legacies of assimilationist efforts. Taffa—a citizen of the Quechan Nation and Laguna Pueblo tribe, and director of the MFA in Creative Writing at the Institute of American Indian Arts—was born on the California Yuma reservation and grew up in Navajo territory in New Mexico in the 1970s and 1980s. She reflects on tribal identity and attitudes toward off-reservation education she learned from her parents’ and grandparents’ fraught formative experiences. —NodB Normal Women by Philippa Gregory [NF] This is exciting news for Anglophiles and history nerds like me: Philippa Gregory is moving from historical fiction (my guilty pleasure) about royal women and aristocrats in medieval and early modern England to focus on the lives of common women during that same time period, as gleaned from the scraps of information on them she has unearthed in various archives. I love history “from the bottom up” that puts women at the center, and Gregory is a compelling storyteller, so my expectations are high. —CK Blue Lard by Vladimir Sorokin, tr. Max Lawton [F] Upon its publication in 1999, Sorokin's sci-fi satire Blue Lard sparked protests across Russia. One aspect of it particularly rankled: the torrid, sexual affair it depicts between Stalin and Khruschev. All to say, the novel is bizarre, biting, and utterly irreverent. Translated into English for the first time by Lawton, Sorokin's masterwork is a must-read for anyone with an iconoclastic streak. —SMS Piglet by Lottie Hazell [F] Hazell's debut novel follows the eponymous Piglet, a successful cookbook editor identified only by her unfortunate childhood nickname, as she rethinks questions of ambition and appetite following her fiancé's betrayal. Per Marlowe Granados, Hazell writes the kind of "prose Nora Ephron would be proud of." —SMS Grief is for People by Sloane Crosley [NF] Crosley enlivens the grief memoir genre with the signature sense of humor that helped put her on the literary map. In Grief Is for People, she eulogizes the quirks and complexities of her friendship with Russell Perreault, former publicity director at Vintage Books, who died by suicide in 2019. Dani Shapiro hails Crosley’s memoir—her first full-length book of nonfiction—as “both a provocation and a balm to the soul.” —LA The Freaks Came Out to Write by Tricia Romano [NF] The freaks came out to write, and you better believe the freaks will come out in droves to read! In this history of the legendary alt-weekly the Village Voice, Romano (a former writer for the Voice) interviews some 200 members the paper’s most esteemed staff and subjects. A sweeping chronicle of the most exciting era in New York City journalism promises to galvanize burgeoning writers in the deflating age of digital media. —DF Burn Book by Kara Swisher [NF] Swisher has been reporting on the tech industry for 30 years, tracing its explosive growth from the dawn of the internet to the advent of AI. She's interviewed every tech titan alive and has chronicled their foibles and failures in excruciating detail. Her new book combines memoir and reportage to tell a comprehensive history of a troubled industry and its shortsighted leaders. —SMS Wandering Stars by Tommy Orange [F] Orange returns with a poignant multi-generational tale that follows the Bear Shield-Red Feather family as they struggle to combat racist violence. Picking up where Orange's hit debut novel, There There, left off, Wandering Stars explores memory, inheritance, and identity through the lens of Native American life and history. Per Louise Erdrich, “No one knows how to express tenderness and yearning like Tommy Orange." —LA March The Hearing Test by Eliza Barry Callahan [F] Callahan's debut novel follows a young artist as she faces sudden hearing loss, forcing to reevaluate her orientation to her senses, her art, and the world around her. Amina Cain, Moyra Davey, and Kate Zambreno are all fans (also a dream blunt rotation), with the latter recommending this one be "read alongside the novels of W.G. Sebald, Rachel Cusk, and Maria Gainza." —SMS The Extinction of Irena Rey by Jennifer Croft [F] When a group of translators arrive at the home of renowned novelist Irena Rey, they expect to get to work translating her latest book—instead, they get caught up in an all-consuming mystery. Irena vanishes shortly after the translators arrive, and as they search for clues to the author's disappearance, the group is swept up by isolation-fueled psychosis and obsession. A “mischievous and intellectually provocative” debut novel, per Megha Majumdar. —LA Thirst by Marina Yuszczuk, tr. Heather Cleary [F] This isn’t your typical meet-cute. When two women—one grieving, the other a vampire, both of them alienated and yearning for more—cross paths in a Buenos Aires cemetery, romance blooms. Channelling Carmen Maria Machado and Anne Rice, Yuszczuk reimagines the vampire novel, with a distinctly Latin American feminist Gothic twist. —LA The Great Divide by Cristina Henríquez [F] I'm a sucker for meticulously researched and well-written historical fiction, and this one—a sweeping story about the interconnected lives of the unsung people who lived and labored at the site of the Panama Canal—fits the bill. I heard Henríquez speak about this novel and her writing processes at a booksellers conference, and, like the 300 booksellers present, was impressed by her presentation and fascinated at the idea of such a sweeping tale set against a backdrop so larger-than-life and dramatic as the construction of the Panama Canal. —CK Bite Your Friends by Fernanda Eberstadt [NF] Melding memoir and history, Eberstadt's Bite Your Friends looks at the lives of saints, philosophers, and artists—including the author and her mother—whose abberant bodies became sites of subversion and rebellion. From Diogenes to Pussy Riot, Eberstadt asks what it means to put our bodies on the line, and how our bodies can liberate us. —SMS Anita de Monte Laughs Last by Xochitl Gonzalez [F] When Raquel Toro, an art history student, stumbles on the story of Anita de Monte, a once prominent artist from the '80s whose mysterious death cut short her meteoric rise, her world is turned upside down. Gonzalez's sophomore novel (after her hit debut Olga Dies Dreaming) toggles between the perspectives of Raquel and Anita (who is based on the late Ana Mendieta) to explore questions of power, justice, race, beauty, and art. Robert Jones, Jr. calls this one "rollicking, melodic, tender, and true—and oh so very wise." —LA My Heavenly Favorite by Lucas Rijneveld, tr. Michele Hutchison [F] Rijneveld, author of the International Booker Prize-winning novel The Discomfort of Evening, returns with a new take on the Lolita story, transpiring between a veterinarian and a farmer's daughter on the verge of adolescence. "This book unsettled me even as it made me laugh and gasp," gushes Brandon Taylor. "I'm in awe." Radiant by Brad Gooch [NF] Lauded biographer Gooch propels us through Keith Haring’s early days as an anonymous sidewalk chalk artist to his ascent as a vigilante muralist, pop-art savant, AIDS activist, and pop-culture icon. Fans of Haring's will not want to miss this definitive account of the artist's life, which Pulitzer-winner biographer Stacy Schiff calls "a keen-eyed, beautifully written biography, atmospheric, exuberant, and as radiant as they come." —DF The Riddles of the Sphinx by Anna Shechtman [NF] Sometimes you encounter a book that seems to have been written specifically for you; this was the feeling I had when I first saw the deal announcement for Shechtman's debut book back in January 2022. A feminist history of the crossword puzzle? Are you kidding me? I'm as passionate a cruciverbalist as I am a feminist, so you can imagine how ravenously I read this book. The Riddles of the Sphinx is one of the best books of 2024, hands down, and I can't wait for everyone else—puzzlers and laymen alike—to fall in love with it too. —SMS The Silver Bone by Andrey Kurkov, tr. Boris Drayluk [F] Kurkov is one of Ukraine's most celebrated novelists, and his latest book is a murder mystery set against the backdrop of WWI-era Kyiv. I'll admit what particularly excites me about The Silver Bone, though, is that it is translated by Dralyuk, who's one of the best literary translators working today (not to mention a superb writer, editor, and poet). In Drayluk's hands, Kurkov's signature humor and sparkling style come alive. —SMS Feeding Ghosts by Tessa Hulls [NF] This multigenerational graphic memoir follows Hull, alongside her mother and grandmother, both of whom hail from China, across time and space as the delicate line between nature and nurture is strained by the forces of trauma, duty, and mental illness. Manjula Martin calls Feeding Ghosts “one of the best stories I’ve read about the tension between family, history, and self.” —DF It Lasts Forever and Then It's Over by Anne de Marcken [F] Haunting prose and a pithy crow guide readers through Marcken's novel of life after death. In a realm between reality and eternity, the undead traverse westward through their end-of-life highlight reel, dissecting memories, feelings, and devotions while slowly coming to terms with what it means to have lived once all that remains is love. Alexandra Kleeman admits that she "was absolute putty in this book's hands." —DF Parasol Against the Axe by Helen Oyeyemi [F] When I visited Prague, a year after the 1989 Velvet Revolution, the Czech capital struck me as a magical place, where anything is possible, and Oyeyemi captures the essence of Prague in Parasol Against the Axe, the story of a woman who attends her estranged friend's bachelorette weekend in the city. A tale in which reality constantly shifts for the characters and there is a thin line between the factual and the imagined in their relationships, this is definitely my kind of a read. —CK Say Hello to My Little Friend by Jennine Capó Crucet [F] Crucet's latest novel centers on a failed Pitbull impersonator who embarks on a quest to turn himself into a modern-day Tony Montana—a quest that leads him to cross paths with Lolita, a captive orca at the Miami Seaquariam. Winking at both Scarface and Moby-Dick, Say Hello to My Little Friend is "a masterclass in pace and precision," per Nana Kwame Adjei-Brenyah. —SMS But the Girl by Jessica Zhan Mei Yu [F] Girl, a Malaysian-Australian who leaves home for the U.K. to study Sylvia Plath and write a postcolonial novel, finds herself unable to shake home—or to figure out what a "postcolonial novel" even is. Blurbs are untrustworthy, but anything blurbed by Brandon Taylor is almost certainly worth checking out. —JHM Wrong Is Not My Name by Erica N. Cardwell [NF] Cardwell blends memoir, criticism, and theory to place her own Künstlerroman in conversation with the work of Black visual artists like Lorna Simpson, Lorraine O'Grady, and Kara Walker. In interconnected essays, Cardwell celebrates the brilliant Black women who use art and storytelling to claim their place in the world. —SMS Great Expectations by Vinson Cunningham [F] A theater critic at the New Yorker, Cunningham is one of my favorite writers working today, so I was thrilled to learn of his debut novel, which cheekily steals its title from the Dickens classic. Following a young Black man as he works on a historic presidential campaign, Great Expectations tackles questions of politics, race, religion, and family with Cunningham's characteristic poise and insight. —SMS The Future of Songwriting by Kristin Hersh [NF] In this slim volume, Throwing Muses frontwoman and singer-songwriter Hersh considers the future of her craft. Talking to friends and colleagues, visiting museums and acupuncturists, Hersh threads together eclectic perspectives on how songs get made and how the music industry can (and should) change. —SMS You Get What You Pay For by Morgan Parker [NF] Parker, a brilliant poet and author of the stellar There Are More Beautiful Things Than Beyonce, debuts as an essayist with this candid, keen-eyed collection about life as a Black woman in America. Casting her gaze both inward and onto popular culture, Parker sees everything and holds back nothing. —SMS Mother Doll by Katya Apekina [F] Following up her debut novel, The Deeper the Water, the Uglier the Fish, Apekina's Mother Doll follows Zhenia, an expectant mother adrift in Los Angeles whose world is rocked by a strange call from a psychic medium with a message from Zhenia's Russian Revolutionary great-grandmother. Elif Batuman calls this one "a rare achivement." —SMS Solidarity by Astra Taylor and Leah Hunt-Hendrix [NF] What does "solidarity" mean in a stratified society and fractured world? Organizers and activists Hunt-Hendrix and Taylor look at the history of the concept—from its origins in Ancient Rome to its invocation during the Black Live Matter movement—to envision a future in which calls for solidarity can produce tangible political change. —SMS The Manicurist's Daughter by Susan Lieu [NF] After her mother, a refugee of the Vietnam war and the owner of two nail salons, dies from a botched cosmetic surgery, Lieu goes looking for answers about her mother's mysterious life and untimely death. Springing from her hit one-woman show 140 LBS: How Beauty Killed My Mother, Lieu's debut memoir explores immigration, beauty, and the American Dream. —SMS Through the Night Like a Snake ed. Sarah Coolidge [F] There's no horror quite like Latin American horror, as any revering reader of Cristina Rivera Garza—is there any other kind?—could tell you. Two Lines Press consistently puts out some of the best literature in translation that one can come by in the U.S., and this story collection looks like another banger. —JHM Headshot by Rita Bullwinkel [F] Bullwinkel's debut collection, Belly Up, was a canful of the uncanny. Her debut novel, on the other hand, sounds gritty and grounded, following the stories of eight teenage girls boxing in a tournament in Reno. Boxing stories often manage to punch above their weight (sorry) in pretty much any medium, even if you're not versed enough in the sport to know how hackneyed and clichéd that previous clause's idiomatic usage was. —JHM Choose This Now by Nicole Haroutunian [F] Haroutunian's novel-in-stories, part of Noemi Press's Prose Series, follows a pair of inseparable friends over the years as they embark on careers, make art, fall in and out of love, and become mothers. Lydia Kiesling calls this one "a sparkling, intimate look at women's lives" that makes "for a lovely reading experience." —SMS Death by Laughter by Maggie Hennefeld [NF] Hennefeld's scholarly study explores the forgotten history and politics of women's "hysterical laughter," drawing on silent films, affect theory, feminist film theory, and more. Hennefeld, a professor of cultural studies and comparative literature, offers a unique take on women's pleasure and repression—and how the advent of cinema allowed women to laugh as never before. —SMS James by Percival Everett [F] In James, the once-secondary character of The Adventures of Huckleberry Finn narrates his version of life on the Mississippi. Jim, who escapes enslavement only to end up in adventures with white runaway Huck, gives his account of well-known events from Mark Twain’s 1880s novel (and departs from the record to say what happened next). Everett makes readers hyperaware of code-switching—his 2001 novel Erasure was about a Black novelist whose career skyrockets when he doubles down on cynical stereotypes of Blackness—and Jim, in James, will have readers talking about written vernacular, self-awareness, and autonomy. —NodB A Chance Meeting by Rachel Cohen [NF] Chronicling 36 fateful encounters among 30 writers and artists—from Henry James to Gertrude Stein, Mark Twain to Zora Neal Hurston—Cohen paints a vast and sparkling portrait of a century's worth of American culture. First published in 2004, and reissued by NYRB, A Chance Meeting captures the spark of artistic serendipity, and the revived edition features a new afterword by the author. —SMS Who's Afraid of Gender? by Judith Butler [NF] Butler has had an outsized impact on how we think and talk about gender and sexuality ever since the 1990 publication of Gender Trouble, which theorized the way gender is performed and constructed. Butler's latest is a polemic that takes on the advent of "anti-gender ideology movements," arguing that "gender" has become a bogeyman for authoritarian regimes. —SMS Green Frog by Gina Chung [F] Chung, author of the acclaimed debut novel Sea Change, returns with a story collection about daughters and ghosts, divorcees and demons, praying mantises and the titular verdant amphibians. Morgan Talty calls these 15 stories "remarkable." —SMS No Judgment by Lauren Oyler [NF] Oyler is one of our sharpest and most fearless cultural critics, and No Judgement is her first essay collection, following up her debut novel Fake Accounts. Opining on gossip and anxiety, autofiction and vulnerability, and much, much more, Oyler's caustic wit and penetrating voice shine through every essay. —SMS Memory Piece by Lisa Ko [F] Following up her National Book Award–nominated debut novel The Leavers, Ko's latest follows three lifelong friends from the 1990s to the 2040s. A meditation on the meaning of a "meaningful life" and how to adapt to an increasingly inhospitable world, Memory Piece has earned praise from Jacqueline Woodson and C Pam Zhang, who calls the novel "bright with defiance, intelligence, and stubborn love." —SMS On Giving Up by Adam Phillips [NF] Psychoanalyst Phillips—whose previous subjects include getting better, wanting to change, and missing out—takes a swing at what feels like a particularly timely impulse: giving up. Questioning our notions of sacrifice and agency, Phillips asks when giving up might be beneficial to us, and which parts of our lives might actually be worth giving up. —SMS There's Always This Year by Hanif Abdurraqib [NF] Abdurraqib returns (how lucky are we!) with a reflection on his lifelong love of basketball and how it's shaped him. While reconsidering his childhood, his relationship with his father, and the meaning of "making it," Abdurraqib delivers what Shea Serrano calls "the sharpest, most insightful, most poignant writing of his career." —SMS The Angel of Indian Lake by Stephen Graham Jones [F] The final installment of Jones's trilogy picks up four years after Don't Fear the Reaper. Jade Daniels is back from prison, and upon her release, she encounters serial killer-worshipping cults, the devastating effects of gentrification, and—worst of all—the curse of the Lake Witch. Horror maestro Brian Keene calls Jones's grand finale "an easy contender for Best of the Year." —LA Worry by Alexandra Tanner [F] This deadpan debut novel from Tanner follows two sisters on the cusp of adulthood as they struggle to figure out what the hell to do with their lives. Heads butt, tempers flare, and existential dread creeps in as their paths diverge amid the backdrop of Brooklyn in 2019. Limning the absurdity of our internet-addled, dread-filled moment, Tanner establishes herself as a formidable novelist, with Kiley Reid calling Worry "the best thing I've read in a very long time." —DF [millions_email]

Hell with the Lid Taken Off: A Pittsburgh Reading List

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The most unexpected literary metropolis in the United States is Pittsburgh. Known less for literature than for producing more steel than any other place on Earth, Pittsburgh was literally the Ally’s arsenal during WWII and was central in America’s 20th-century ascent. But when industry collapsed during the Reagan administration, it -- like her sisters Cleveland, Cincinnati, Buffalo, and Detroit -- became a region adrift. For years the city was a Rust Belt punch line to those too ill-informed to experience the tough beauty of the place. And yet economics can be destiny, which is why it’s heartening, surprising, and in some sense worrying to see Pittsburgh discovered now by national magazines and newspapers which are always looking for the next location, a new Portland or Austin where arty people with expendable cash can drink craft beer and go to pop-up art galleries. In a few years we’ve gone from being the “Paris of Appalachia” (as if there should be any shame in that!) to Williamsburg on the Three Rivers. Yet the place itself remains more complicated, confusing, contradictory, beautiful, and glorious than the national media ever realized. These dichotomies are too simple, though; they skirt the reality of a place, especially one that was so central in the “consequence of America” (as Pittsburgh poet Jack Gilbert put it). Pittsburgh is a synecdoche for the nation, a microcosm of the things that made America magnificent, but also of the things that damaged the country. There is great drama in its story, from being the first metropolis on that ever westward expanding frontier, to becoming the industrial “hell with the lid taken off” of Victorian essayist James Parton, to the reinventions of today. This is inevitably the stuff of great literature. No less than Herman Melville once declared that “men not very much inferior to Shakespeare are this day being born on the banks of the Ohio.” Gilbert echoed Melville, when he remarked to The Paris Review, “You can’t think small in a steel mill.” Part of this is because the area certainly has a lot that can be written about: dramatic topography and sometimes-tragic history, cosmopolitan expansiveness as well as damaging provincialism, the still almost inexplicable physical beauty and the grime of industry. No declaration of it as the “Most Livable City in America” can fully contain these paradoxes. But in the writing of Willa Cather, John Edgar Wideman, Michael Chabon, Stewart O’Nan, and Ellen Litman we see a fuller expression of the raw energy of Pittsburgh than one does in the simple platitudes of official civic boosters. As a native Pittsburgher, even when I was young, I intuited how heavy and determined the history of the city was, the very surroundings a sort of palimpsest. As with that type of manuscript, even though there may be an accumulation of layers of new letters on top, the previous generations’ words can still be visible underneath, if not always legible. What follows is a recommended reading list that tries to elucidate the nature of this palimpsest. We shouldn’t be surprised by that variety of voices. Pittsburgh continues to have a thriving literary scene outside of all proportion for its size, not just in the celebrated creative writing departments at the University of Pittsburgh, Carnegie Mellon, and other colleges and universities in the area, but in initiatives like City of Asylum, which houses writers in exile from their home nations; the writers’ network Litsburgh; or the small bookstore scene (with the welcome recent return of the excellent City Books). The region lends itself to such sublime inspirations as to create poets and writers of a surprising caliber, as Annie Dillard herself imagines Pittsburgh “poured rolling down the mountain valleys like slag” where she can “see the city lights sprinkled and curved around the hills’ curves, rows of bonfires winding. At sunset a red light like house fires shines from the narrow hillside windows; the houses’ bricks burn like glowing coals.” Gilbert was right; it’s hard to think small here. 1. Modern Chivalry: Containing the Adventures of Captain John Farrago and Teague O'Regan, His Servant by Hugh Henry Brackenridge (1792) One candidate for the first actual American novel is the first work on this list. Although rarely read by anyone other than specialists today, Brackenridge conceived of Modern Chivalry as an American Don Quixote, a maximalist attempt to convey the full complexity, vigor, and reality of life on the western frontier. The errant knight in Breckenridge’s massive novel is John Farrago, who decides to “ride about the world a little…to see how things were going on here and there, and to observe human nature.” In his endeavors through the western Pennsylvanian landscape, Farrago’s Sancho Panza is a drunken Irish layabout named Teague O’Regan. Along the way, Brackenridge presents his readers with a Pynchonesque satire of an America on the verge of both the second great awakening and ultimately Jacksonian democracy, making the first American novel also the first road novel. Brackenridge was in some ways as quixotic as the character he created. Scottish by birth and Philadelphian by upbringing, Breckenridge’s literary ambitions began at Princeton, where he wrote the poem "The Rising Glory of America" (about what you’d expect) with his friend Philip Freneau and delivered it on the steps of Nassau Hall in 1771 in a pique of revolutionary fervor. After the War of Independence, he set out to the west to make his fortunes in Pittsburgh, which though already the metropolis of Trans-Appalachia was still a frontier settlement of no more than 400 people. While there Brackenridge would make himself the “great man” that he felt he had the potential to be, a potential that due to its large size would not be realized in that Quaker city to the east. Brackenridge afforded himself of every opportunity the growing western settlement offered, not just writing Modern Chivalry but both founding what would be The Pittsburgh Post-Gazette and the University of Pittsburgh. In Modern Chivalry he proves Ralph Waldo Emerson’s assertion that “Europe extends to the Alleghenies; America lies beyond,” depicting a growing city that was part of France longer than it was in Britain, and thus becomes more originally American than Puritan Boston, Quaker Philadelphia, Dutch New York, or Cavalier Baltimore. Modern Chivalry presents to us with a strange twilight era, the age of the French and Indian War, Pontiac’s Rebellion, and the Whiskey Rebellion. The novel shows Pittsburgh on the edge of civilization, when the frontier began to burn its way west to the Pacific, a liminal Pittsburgh neither totally east nor west (as indeed it remains so today). 2. The Gospel of Wealth by Andrew Carnegie (1892) Pittsburghers have a strange relationship to the generation of men who made the city one of the wealthiest metropolises in the country (and indeed whose accumulated inherited wealth in part helped the city survive the collapse of industry). Names like Carnegie, Frick, Mellon, Westinghouse, and Heinz adorn museums, universities, schools, parks, and churches. Yet an appreciation is tempered by a certain working class suspicion; the hike is short from Henry Clay Frick’s opulent Clayton estate at the edge of the park named for him to the spot on the Monongahela across from where Pinkertons killed nine striking steelworkers in 1891. Carnegie occupies a complicated place in the psyche of the city, a poor Scottish immigrant whose life story is uncomfortably close to the bootstrap mythos of his adopted nation. Carnegie wasn’t simply the richest man in the world, but also one of the most generous philanthropists the country ever produced. A socialist in his youth, Carnegie eventually argued that redistributive justice through either labor unions or state intervention was unnecessary, and rather it was the paternal responsibility of the great man of industry to support his working brother. And so a thousand libraries bloomed, whether workers wanted them or not (raises in pay and better working conditions were another matter). In The Gospel of Wealth he puts forward his philosophy of philanthropy, one that was perhaps generous, but also very firmly on his terms (and sometimes not so transparently to his benefit as well). His bearded, kindly face peers out of a bronzed statue in the lobby of the music hall that bears his name, his shockingly small stature giving him an elfin appearance. There is an ambivalence surrounding him -- gratitude for the sheer amount of good he contributed with his wealth, but also the feeling that it was a fire escape used to ameliorate guilt he felt over things like his deputy Frick’s handling of the Homestead steel strike (not to mention the role both played in the tragic Johnstown Flood). Despite it all, there is something avuncular about his still-ghostly presence as Pittsburgh’s tiny Scottish uncle, who must feel some gratitude that we’re the only people west of Edinburgh able to pronounce his name correctly (emphasis on that first syllable). 3. “Paul’s Case” by Willa Cather in The Troll Garden (1905) While most associated with the weather-beaten plains of her adopted Nebraska explored in novels like O Pioneers! (1913) and then the scorched deserts of New Mexico in Death Comes for the Archbishop (1927), Cather made Pittsburgh her home for 10 years. She explored the city in several short stories, most famously in her poignantly heartbreaking “Paul’s Case.” A landmark in American queer writing, “Paul’s Case” follows the attempted escape of its titular character, a sensitive adolescent aesthete who is oppressed by the Protestant work ethic of his father that permeates everything as completely as the industrial exhaust clinging blackly to every building’s exterior. Yet an opera performance at Pittsburgh’s Carnegie Hall indicates to the young man that a different manner of being is possible. He absconds with stolen money from his father and spends a week living the life of a refined sophisticate in New York City. When his father comes to retrieve him, rather than return home, Paul commits suicide by jumping in front of a train bound for Pennsylvania. A work of nuanced sophistication, “Paul’s Case” captures Pittsburgh at its dreary, industrial height, and connects the regimented, clock-work like rationalism of its factories to the oppressive strictures of the Calvinism that justified the dour capitalism of the era. In this context Paul’s rebellion, though tragic, is not a failure, for in the music halls of this gray city he was able to see a different world, even if he couldn’t make that world his home. 4. The Autobiography of Alice B. Toklas by Gertrude Stein (1933) Her name conjures images of Left Bank bohemianism, of late-night absinthe and hash-fueled salons in her parlor, of the Seine slinking through Paris. Yet despite being the veritable mayor of the expat Lost Generation, the first river Stein would have known was not the Seine but the Allegheny. Born to a family of wealthy German Jews in Allegheny, Penn., (which is now Pittsburgh’s Northside), she was of the same community that fostered families like the Kaufmanns, once famous for their now-defunct department store chain and primarily associated with their glorious Frank Lloyd Wright house at Fallingwater. Allegheny was to Pittsburgh as Brooklyn was to New York, and as both were in some sense forcibly annexed by their larger neighbors, a certain independence still lingers in both places today. Stein reflected little on her short Pittsburgh childhood (the family moved to Oakland), and yet in the ghostwritten voice of her lover Alice B. Toklas, she wrote, “As I am an ardent Californian and as she spent her youth there I have often begged her to be born in California but she has always remained firmly born in Allegheny, Pennsylvania. She left it when she was six months old and has never seen it again and now it no longer exists being all of it Pittsburgh.” 5. Out of This Furnace by Thomas Bell (1941) Although today the adjacent city of Braddock is primarily known for a maudlin (and yet still moving) Levi’s ad and its imposing shaven-head mayor John Fetterman, it was once the site of the Edgar Thompson Steelworks, the first Bessemer process steel mill in the world. (It should be said that portions of the mill are still in operation, despite the city losing 90 percent of its population from its historic height). That industrial site is the setting for Thomas Bell’s (ne’ Adalbert Thomas Belejcak) working class epic about Slovakian, Lemko, and Hungarian mill workers from the late 19th century through the mid-20th. Alongside other marginalized modernist authors like Tillie Olsen and Pietro di Donato, Bell offered an unsparing and unsentimental portrait of the brutality of work, alongside the often-insurmountable bigotry directed towards immigrants. Bell eschews any sort of romanticism, and Out of This Furnace is not social realist agitprop, but it is a clear-eyed depiction of the sort of violence that unregulated capitalism can enact on individuals and their communities. Throughout what emerges is a sober defense of labor rights and unionization in ensuring that the American dream is equitably available to all. 6. Pittsburgh: The Story of an American City by Stefan Lorant (1964) Pittsburgh has the appearance of a love-child produced after a drunken one-night stand between San Francisco and Detroit. This is a compliment. Carved by three rivers cutting through the Allegheny Mountains, the city has a dramatic vista that is endlessly commented on in Pittsburgh and perennially surprises newcomers. The combination of a modern metropolis nestled among the river-kissed valleys and mountains gives the entire place a profoundly different feel from other similarly sized cities. With the iconic inclines on Mt. Washington, or the sudden conjuring of the cityscape like a mirage onto one’s field of vision as it emerges from behind the rural hills dotting I-79 North, the skyline is consistently ranked one of the most beautiful in America. Hungarian journalist Stefan Lorant worked with Life magazine photographer W. Eugene Smith to produce this massive album of Pittsburgh at mid-century, during the middle of what has been called “Renaissance I.” This civic improvement project, initiated by progressive mayor David L. Lawrence and banker Richard K. Mellon was in large responsible for beautifying the city, pushing for environmental initiatives to clean up the famously Gotham-like grime of the region, and to inaugurate massive building projects. Lorant and Smith’s massive project resulted in a text, that while suspiciously looking like a coffee table book, was perhaps one of the most comprehensive recordings of a mid-sized American city ever accomplished. Perennially popular (and going through several more editions), Pittsburgh: The Story of an American City chronicled in exacting and gorgeous detail everything from the Fifth Avenue mansions on Millionaire’s Row to the brick row houses of Bloomfield and Lawrenceville. It remains endlessly fascinating. 7. About Three Bricks Shy: And the Load Filled Up by Roy Blount Jr. (1974) Western Pennsylvania was the forge that created Joe Montana, Johnny Unitas, Mike Ditka, Dan Marino, and Joe Namath. Football, from its glories to its toxicity, is religion in Pittsburgh. To fully explain that world requires someone familiar with the doctrine and sacraments of said religion, which the Steelers found in Southern writer Roy Blount Jr., an inhabitant of the only region in American perhaps more football obsessed than Pittsburgh. His About Three Bricks Shy: And the Load Filled Up disproves George Plimpton’s assertion that the smaller the ball, the better the sports writing. A classic of the genre, Blount’s account follows the exploits of the team before the Steel Curtain juggernaut of the late-'70s. The glory days of four Super Bowls in six years was still in the future. But the ingredients were all there: Terry Bradshaw as quarterback; the brilliant coach Chuck Noll; running backs Rocky Bleier and John “Frenchy” Fuqua; defensive lineman L.C. Greenwood; defensive back Mel Blount; and the running back Franco Harris (along with his famed “Italian Army”), who one year before accomplished the greatest play in football history with his “Immaculate Reception” (so named in the honking yinzer accent of sportscaster Myron Cope). Blount depicts a team on the verge of greatness, where all the pieces should work together, but just don’t quite do so yet. Presided over by the stodgy yet beloved Irish-Catholic owner Art Rooney Sr., Blount’s book is fascinating for depicting a team right before they would become the high priests of this strange Pittsburgh religion of football. 8. The Philosophy of Andy Warhol (From A to B & Back Again) by Andy Warhol (1975) The city could be cold to an eccentric boy like Warhol, but in college at Carnegie Tech he was able to find a community of like-minded artistic compatriots and even mythically contributed a hidden mural to Holiday, now-closed but once the city’s oldest gay bar. With his degree in design, he escaped like Willa Cather’s Paul to New York and supposedly never looked back (though he was buried in the South Hills, his grave littered with Campbell Soup cans from admirers). Yet Andrew Warhola was a good Slovakian Catholic, attending Mass everyday with his mother, even as an adult. She took her son to the Church of St. John Chrysostom when he was an awkward, shy, St. Vitus’s dance afflicted boy. In the Byzantine Catholic splendor of the cathedral in Four Mile Run (the veritable basement of the city, bisected by the Parkway East), he would have marveled at icons of the church’s namesake and the Patristic fathers. In adulthood what did he do but invent a new form of icon based not around Christianity but America’s new religion of capitalism and celebrity, the Virgin Mary replaced with Marilyn Monroe, St. Monica with Jackie O? The city is now home to a large museum devoted to the artist, even though he had a reputation for obscuring his Pittsburgh roots. Indeed The Philosophy of Andy Warhol (From A to B & Back Again) strangely incorrectly claims the distinctly less glamorous McKeesport as his hometown. In another interview, he claimed, “I come from nowhere.” And yet an affection for the city in some sense always remained. When David Bowie played him in the film Basquiat (1996), he speaks of the Architecture Hall at the Carnegie Museum of Art where he once took classes: “Hey, we could go to Pittsburgh! I kinda grew up there. They have this room with all the world's famous statues in it, so you don't even have to go to Europe any more...just go to Pittsburgh.” Indeed the Northside is still home to Paul Warhola Scrap Metal Inc., run by Andy’s nephew who inherited it from his father, and only a few blocks away from the fashionable art museum baring his uncle’s name. Warhol may have made his career in New York, but he was always a Pittsburgher to the core, another Catholic son of mill hunkies working in a Factory. 9. Hiding Place by John Edgar Wideman (1981) Although also associated with that other Pennsylvania city to the east where several of his books are set, Pittsburgh is still very much John Edgar Wideman’s town. A writer’s writer who has never claimed the mass readership he deserves (though he certainly has received the prizes, including a PEN/Faulkner award -- twice) Wideman chronicled the defeats and triumphs of Pittsburgh’s black neighborhood of Homewood. His novel Hiding Place was rereleased by the University of Pittsburgh Press in 1992 sandwiched between his short story collection Damballah (1981) and the novel Sent for you Yesterday (1983) under the title The Homewood Books. Wideman writes in the tradition of Sherwood Anderson, or Jean Toomer, with an understanding of the deep roots (or tentacles) that tie us to our place of origin. Damballah, named about the Haitian Loa of both creation and death, is a magical realist inflected story about Homewood’s semi-mythic creation. Wideman’s works set in Pittsburgh connect the antebellum South, legacies of slavery and intuitional racism, the Great Migration of African Americans to the industrial North, and modern urban blight. In his telling, the runaway slave Sybil Owens founds the neighborhood in the 1840s, her very name conjuring the Sibylline Oracles, a conflation of hoodoo myth and Western classicism. Wideman understands that in life and in fiction the network of interconnection between disparate elements is the very substance of life. One character reflecting on stories told to him by his aunt says, “I heard her laughter, her amens, and can I get a witness, her digressions, the web she spins and brushes away with her hands. Her stories exist because of their parts and each part is a story worth telling, worth examining to find the stories it contains.” For Wideman, storytelling is an act of personal etymology, a way of excavating the repressed history (both individual and national), of cleaning off that which has accrued to your soul. 10. Fences by August Wilson (1983) Unsurpassed in scope, Wilson wrote 10 plays for each decade of the 20th century, nine of which are focused on the historically black Pittsburgh neighborhood of the Hill District. He has been celebrated with two Pulitzer Prizes, his name in marquees lights on a Broadway theater, a museum in Pittsburgh, and soon a Denzel Washington–produced series based on the entire cycle to appear on HBO. Born to a black mother who moved north in the Great Migration from North Carolina and a German immigrant father, Wilson was a master of code switching with an ear for American vernacular that surpasses David Mamet. In depicting the denizens of Wylie and Centre Avenues some characters reoccur, such as the supernatural Aunt Esther, a “washer of souls” who is already 285 years old at the time of Gem of the Ocean (2003), the first play in the cycle set in the 1900s. Across plays like Jitney (1982), The Piano Lesson (1987), and King Hedley II (1999), he explores painful issues of race and class in a way no playwright has before or since. Composed out of chronological order, The Pittsburgh Cycle in its entirely allows audiences to explore the relationships between space and time in the production of a particular place. Although grounded in the concrete streets of the Hill, he’s able to focus that vision out in a universal manner. Wilson takes the encyclopedic vastness of the great explorers of location, like James Joyce and William Faulkner, and weds it to performed drama. In the mouths of his characters, the Hill is animated on stage in a way few other places have ever been in the theater. Fences, set in the '50s, is arguably the most celebrated play of the cycle, winning both a Pulitzer and a Tony, and starring James Earl Jones in its Broadway premiere. Focusing on Troy, a once promising baseball player who didn’t break into the Negro League and who now works as a garbage man, the play’s themes of middle-aged despair and infidelity lend it a universal quality despite being set in a particular time and place (one that is perhaps distant from those in the audience, especially people lucky enough to be in the expensive seats). As Wilson said about the play, audiences see in Troy “love, honor, beauty, betrayal, duty,” and can begin to understand that “these things are as much part of his life as theirs.”  11. An American Childhood by Annie Dillard (1985) Although she grew up only a 20-minute bus ride from the neighborhood depicted in The Pittsburgh Cycle, Dillard’s upbringing was one of privilege, which she explores in this memoir. She calls her childhood neighborhood of Point Breeze the “Valley of the Kings,” after the Egyptian necropolis of the pharaohs. Though by the time of her youth in the ‘50s, the area was solidly upper middle class (her father was an oil executive, and she attended the exclusive Ellis School), the remnants of its much more opulent Gilded Age past marked Point Breeze. Evidence of the tremendous wealth that shaped the city was everywhere, in robber baron mansions subdivided into apartments and the wrought-iron gate that used to be H.J. Heinz’s fence running alongside blocks of Penn Avenue. The city was built on top of itself, its history waiting to be excavated like an archeologist scouring that actual Valley of the Kings. This helped to develop Dillard’s gift for sensory detail, which she has honed into an almost theological precision. In An American Childhood she recounts how upon officially leaving the Presbyterian church as an adolescent, the minister told her that she would be back, and in many ways he was correct (if not as how he intended). Her prose (which has more than a bit of the poetic about it) adopted the sacramental poetics of a Gerard Manley Hopkins, awareness that the world is simultaneously fallen and enchanted with a charged energy. As she writes, Skin was earth; it was soil. I could see, even on my own skin, the joined trapezoids of dust specks God had wetted and stuck with his spit the morning he made Adam from dirt. Now, all these generations later, we people could still see on our skin the inherited prints of the dust specks of Eden. One of the most important themes of Pittsburgh literature, if we can generalize a theory of the genre, is for the possibility of transcendence in the mundane and for the sacred in the profane. Dillard may be most celebrated for bringing this awareness to her observations of the natural world in rural Virginia, but it was a spiritual skill inculcated by the contradictions of Pittsburgh, where rusting mills abut massive parks, that she first learned the personal vocabulary of matter and spirit. 12. Paradise Poems by Gerald Stern (1985) One of the great Pittsburgh poets, Gerald Stern has diction and a personality that many would read as “New York,” which is to say as “Jewish.” Indeed (and not to conflate the regions) Stern would find himself in the unlikely position of Poet Laureate of New Jersey from 2000 to 2002. But despite his ultimate destination, Stern was very much a product of the steep, cobble-stoned streets of South Squirrel Hill, and his yiddishkeit personality of wry ironic humor and steadfast commitment to justice were very much incubated there. Many are surprised to learn that Pittsburgh is home to one of the largest urban Jewish communities in the United States, where every variety of the Jewish experience from Hasidism to socialist Zionism historically has had adherents. Often compared to his friend the former U.S. Poet Laureate Philip Levine (who similarly explored his own native city of Detroit), Stern’s verse expresses a similar industrial and Midwestern Jewish American experience. Like his other friend Gilbert, Stern would spend his life traveling and living in more exotic locations than the east end of Pittsburgh (pursuing graduate school in Paris for example). But also like Gilbert he can’t shake Pittsburgh, the language of that city permeating his speech and more importantly his consciousness. Stern’s poetry is not just introspective or confessional, but indeed sly and funny; it’s not just intellectual, but unpretentious. He is not simply wise; he is also humane. His commitments come from both a secular understanding of the Torah and the Talmud, and the working class experience of a Pittsburgh youth, what Gilbert called the “tough heaven” of the city. This is a distinctly non-utopian place where Stern argues that we must stake out our claims to utopia even within the heartbreak and discord of a broken and fallen world. This sense of not just the possibility for a restored world, but also the ethical imperative of it, is seen in his poem “The Dancing” from the collection Paradise Poems. A profound Holocaust poem, he depicts a “tiny living room / on Beechwood Boulevard” where his family celebrates the conclusion of the Second World War. Here they joyously dance to Maurice Ravel’s “Boléro,” “my hair all streaming, / my mother red with laughter, my father…doing the dance / of old Ukraine.” He calls upon the “God of mercy, oh wild God” here “In Pittsburgh, beautiful filthy Pittsburgh,” which exists in a world that can produce both the horrors of the Holocaust and the joys of dancing. Stern’s prophetic injunction is that we must live as if the world could be perfected precisely because it can’t be. 13. Mysteries of Pittsburgh by Michael Chabon (1989) Chabon would later claim that he conceived of Mysteries of Pittsburgh as an unlikely cross between The Great Gatsby and Philip Roth’s Portnoy’s Complaint. Like both of those novels, Mysteries of Pittsburgh is a bildungsroman of sorts, a young man’s novel all the more exceptional precisely because of how young a man its author was. The book was started at the almost absurdly tender age of 21, all the more remarkable for how he deftly communicated the coming-of-age of its protagonist, Art Bechstein, and that character’s sexually confused summer after graduating from the University of Pittsburgh. A native of Columbia, Md., Chabon moved to the city as a teenager, graduating from Taylor Allderdice high school (like Stern) and studying at both CMU and Pitt. He combines both an outsider and transplant’s eye for the region, chronicling the previously underexplored reality of characters associated with the universities of the area that have increasingly come to dominate the cultural and economic life of the city as Pittsburgh transforms itself into America’s largest college town. Although acutely aware of the industrial past, Chabon’s men and women travel the leafy, Tudor-homed, middle-class streets of Shadyside and Squirrel Hill, and work in Oakland under the shadow of Pitt’s massive gothic skyscraper of a building called the Cathedral of Learning. Mysteries of Pittsburgh eschews the typical lunch-pail, shot-and-a-beer, smokestack stereotypes that linger about the city, rather portraying the tweedy, quasi-bohemian lives of writers and students (though those characters are just as likely to enjoy a boilermaker or several at that dive, the Squirrel Cage). He fuses Jewish, queer, and popular culture themes while generating characters that display a deep interiority. Both his honesty and nostalgia avoid the pitfalls of cynicism; his Pittsburgh is what it is, exhibiting a clear affection while also being aware of where it lags. This is perhaps even clearer in 1995’s Wonder Boys, arguably one of the greatest campus novels ever written, and certainly the greatest one about the Pittsburgh literary scene. It follows the weekend exploits of Professor Grady Tripp (obviously based on Pitt’s Chuck Kinder) and his brilliant student James Leer. In the narrative concerning Tripp’s demons and his sort-of-redemption, Chabon’s honesty allows us to avoid sentimentality while still offering a defense of why we read fiction at all. That doesn’t mean he can’t engage in some earthy Pittsburgh anti-pretentious shit-talking, as Tripp remarks, “There were so many Pittsburgh poets in my hallway that if, at that instant, a meteorite had come smashing through my roof, there would never have been another stanza written about rusting fathers and impotent steelworkers and the Bessemer convertor of love.” 14. The Great Fires: Poems 1982-1992 by Jack Gilbert (1994) After winning the coveted Yale Younger Poets Prize in 1962, East Liberty’s Jack Gilbert briefly found himself celebrated as a literary wonder boy, yet he would ultimately choose what he called a “self-imposed isolation.” Though he spent a life “In Paris afternoons on Buttes-Chaumont” and “On Greek islands with their fields of stone,” he psychically remained grounded in “what remains of Pittsburgh in me.” His hometown was such an abiding subject of Gilbert's that his poetry concerning it was collected in the anthology Tough Heaven (2006), including “Searching for Pittsburgh” originally included in The Great Fires. He describes, “The rusting mills sprawled gigantically / along three rivers” and the “gritty alleys where we played every evening” that were “stained pink by the inferno always surging in the sky.” For Gilbert, Pittsburgh is “Sumptuous-shouldered, / sleek-thighed, obstinate and majestic, unquenchable” -- as perfect a description as I have ever read. This is a place of “deep-rooted grace. / A city of brick and tired wood,” with “The beauty forcing us as much as the harshness.” This catholic (lowercase c) sense of the numinous embedded even in the injustices of the world was one Gilbert witnessed first hand among the hardships but also the sublimity of working-class life in East Liberty; it allowed him to understand that “If the locomotive of the Lord runs us down, / we should give thanks that the end had magnitude” (as he wrote in his poem “A Brief for the Defense”). Central to Gilbert -- and maybe Pittsburgh writers from Stern to Dillard -- is this powerful, nostalgic, sense of loss, of an ache associated with the disappearance of things once so significant. In one of his most moving Pittsburgh poems, “Trying to Have Something Left Over,” also collected in The Great Fires, Gilbert describes entertaining the baby of his Danish mistress while the mother is occupied with chores. He writes of making the child laugh saying, “Pittsburgh softly each time before throwing him up…Pittsburgh and happiness high up. / The only way to leave even the smallest trace. / So that all his life her son would feel gladness/unaccountably when anyone spoke of the ruined / city of steel in America. Each time almost / remembering something maybe important that got lost.” 15. Muscular Music by Terrance Hayes (1999) One of the last poems in Rita Dove’s The Penguin Anthology of Twentieth Century American Poetry was about a gay bar in Downtown Pittsburgh and was by a then–29-year-old, straight, black poet from Columbia, S.C., named Terrence Hayes. Dove included Hayes alongside poets like T.S. Eliot, Ezra Pound, Robert Frost, Sylvia Plath, John Berryman, Robert Lowell, and Allen Ginsberg as an exemplar of American verse. In what was consciously (and controversially) a cannon-defying collection, Dove choose to include Hayes as the almost-culmination of the last century of American poetry, a vote of confidence for his future significance. Across four collections, and first as a creative writing professor at Carnegie Mellon and now at Pitt, Hayes has explored race and sexuality, popular culture and personal epiphany. He is a poet for our moment, a bard for Barack Obama’s America examining issues of gender and race as lived in this moment. In “At Pegasus,” he writes of awkwardly informing one man who asks him to dance “I’m just here for the music. Even with the masculine defensiveness, he is able to tenderly reflect that he has “held / a boy on my back before. / Curtis & I used to leap / barefoot into the creek,” transporting himself from Pegasus back to a southern childhood. Considering the liberatory potential of the place, he describes the bar in distinctly Yeatsian terms with “the edge of these lovers’ gyre, /glitter & steam, fire, / bodies blurred sexless / by the music’s spinning light,” a veritable egalitarian democracy of men. He is able to empathetically link his childhood play with these men, “each breathless as a boy / carrying a friend on his back.” He explains, “These men know something / I used to know. / How could I not find them / beautiful, they way they dive & spill / into each other.” For Hayes, Pittsburgh isn’t some conservative old industrial town, but indeed a place that, however unlikely some may think, can hold a bit of emancipatory potential for those willing to look (even for outsiders). 16. One Shot Harris: The Photographs of Charles “Teenie” Harris by Deborah Willis (2002) Pittsburgh’s African-American neighborhoods have had an outside influence on wider black culture. The Hill District would ultimately become Pittsburgh’s version of Harlem, home to jazz clubs and bars, and a center in that cultural renaissance. As the halfway point between New York and Chicago, the Pittsburgh jazz scene hosted every major musician to perform. The city also produced an unlikely array of talent, including Art Blakey; George Benson; Erroll Garner; Ahmad Jamal; Stanley Turrentine; Billy Eckstine; Lena Horne; and most notably Billy Strayhorn, Duke Ellington’s composer whose signature “Take the A Train” was based off of directions that Strayhorne received. The Hill was also home to The Pittsburgh Courier, one of the country’s oldest and most venerable black newspapers, which employed the photographer Charlie “Teenie” Harris (so nicknamed for his diminutive height). Teenie had another nickname, “One Shot,” for his borderline mythic ability to capture an almost perfect image on one try. This collection of his mid-century work curated by artist Deborah Willis gives the viewer a sense of the photographer’s scope. As the presiding archivist of the Hill, Harris took over 80,000 images, of everyone from the celebrities who traveled through (including JFK, Joe Louis, Richard Nixon, Dizzy Gillespie, Martin Luther King Jr., and dozens of others) to life in Pittsburgh’s speakeasies and black churches, from the Crawford Grill to that jazz club’s Negro League baseball team the Pittsburgh Crawfords. His massive inventory of images is perhaps the most full and complete recording of any black community in the United States, perhaps of any community at all. Archivists at the Carnegie Museum of Art are combing through the collection, identifying figures and locations. Through the entire body of work what is most conveyed is singular warmth of the people depicted even in sometimes desperate circumstances, a characteristic of the Pittsburgh aesthetic. 17. The Last Chicken in America: A Novel in Stories by Ellen Litman (2008) Western Pennsylvania, like many parts of the industrial Midwest, has long been home to eastern European communities. Onion-domed churches punctuate the skylines of industrial towns as surely as factory smokestacks. The latest wave of immigrants arrived starting in the late-‘70s and early-‘80s, when the campaign to save Soviet Jewry resulted in the relocation of thousands of persecuted Russian Jews to the United States. In Pittsburgh many of them settled in the neighborhoods of Squirrel Hill and Greenfield, including Ellen Litman, who emigrated from Moscow in 1992, shortly after the fall of the Soviet Union. The Last Chicken in America follows her roman a clef Masha’s hybridized identity split between the Old World and New. Litman could be classifiable as part of the movement of young Russian American authors like Gary Shteyngart writing about America through the prism of their Russian backgrounds. Masha comments on the “unpleasantly wholesome smile” of a Russian friend who has assimilated a bit too readily into American culture, where that mouth now emanates “charm and fluoride, good fortune and good breeding, and you either know it’s fake and don’t trust it, or you trust it too much.” Litman’s account of first generation anxiety translates the Russian genius for ironic pessimism into a middle American vernacular. Her stories capture the storefronts of upstreet Squirrel Hill, where memories of Moscow, Leningrad, and Odessa were first discussed in Russian, then heavily accented English, then English, only to maybe eventually be forgotten. Her character Victor says, “For a true Russian person, immigration is death. A Russian poet can’t survive in immigration.” The novel’s position is agnostic on Victor’s claims, and yet it affirms that the truth of being a hyphenated American can be as contradictory and difficult in 1992 as it was in 1892 (or 2016). 18. The Bend of the World by Jacob Bacharach (2014) That people are finally paying attention to Pittsburgh is obviously good. It’s heartening for residents to see the city of which so many are fiercely proud receiving some positive press after decades of being overlooked or portrayed as another Rust Belt casualty. But there is a fear that something could be lost if this enthusiasm is too manufactured, for as the writer of Ecclesiastes might have reminded us (in his own way), “What The New York Times Sunday Style section giveth, The New York Times Sunday Style section can taketh away.” One must remember that to be the “New Portland” requires that there is an “Old Portland,” and all it takes is for Cincinnati or Buffalo or Peoria or wherever to unseat you. Hipsters (and their fellow travelers) were of course first attracted to the city by how cheap it was, but part of the charm of the place is something I call “gentle surrealism.” This is a phenomenon that resists the conscious weirdness of those trying too hard; its unpretentious and seemingly unaware of what uncoolness even is. An area that used to view pretzels encased in lime-green Jell-O as a type of desert has more than a whiff of the gently surreal about it. In first-time novelist Jacob Bacharach’s The Bend of the World, the protagonist believes that Pittsburgh is a “nexus of intense magical occurrence.” The satirical novel features UFO’s, Sasquatches, and inter-dimensional conspiracies, a gentle slice of surrealism served, Pittsburgh-style, with fries on top. Bacharach proves true what Jack Gilbert wrote all those years ago, that whether Steel City or travel section destination, “Only Pittsburgh is more than Pittsburgh.” Image Credit: Wikimedia Commons.