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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
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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A Year in Reading: Thomas Beckwith
One of my strongest memories involves ducking behind a bush to avoid a patrolling MP. The year is 1998; I’m 10 years old. My friend and I are dueling with cap guns designed to look like Uzis. My friend, a native of Nebraska whose father works in the Army, shoots caps at me through skeletal bushes and over the hoods of cars. We battle our way through a parking lot, and as we do I construct a number of scenarios to explain why, despite our friendly history, we now want to maim each other with high-tech explosives and bullets. I tell myself I'm a young James Bond, hurled abruptly and senselessly into training. I’m a private in the Allied armies caught up in a skirmish in North Africa. I’m a CIA agent, tasked only with taking out "evil” in a faraway, suffocating jungle. I’m all of these things -- that is, until my friend tackles me.
“What the hell?” I say. At this point I’m old enough that swears are less thrilling than routine. “What was that?”
“Don’t talk." My friend gives a signal to follow. I comply, and as we crawl behind a bush and huddle side by side, it strikes me that this is the closest I’ll ever get to real warfare.
My friend says an MP on a road nearby staged firefights like ours as a kid. One day an eccentric soldier, unaware that his cap guns were toys, upheld the safety of his community by shooting the MP in the leg. Ever since that life-marring day, the MP walked with a limp, his gait a jarring reminder of the perils of play-acting too well. It fell to us to avoid him, my friend explained, because the MP “went ballistic” when he spotted young boys using cap guns. I didn’t know what that entailed, exactly, but I knew it was very bad, so I hid my gun under my T-shirt and prayed for the MP to stalk away.
I bring this up now because lately I've felt that it helped forge my taste in literature. Not the cap gun incident specifically, but the many incidents like it -- I went to school on an Army base for several years, and I grew to believe my time there unavoidably skewed my perspective. To call Army kids your classmates, then as now, meant spending great balefuls of time with rural Heartlanders and Southerners. It meant having friends who blew whole weekends in paintball games with Vietnam vets. It meant that dumb kids brought hunting knives into school on a perilously regular basis. In a lot of ways, I was the odd man out back then, thanks largely to the fact that my parents were both academics, but my classmates often took precedence over the diktats of my tweedy home life. Even now, my parents like to tease me for using the word “dang” till I was 12.
In other words, I was never quite able to reinvent myself as an East Coaster, which is probably why, earlier this year, I fell for Barry Hannah. In an interview published in 2009, Wells Tower wrote that Hannah “drives people to fanaticism," a statement which ranks with “banned for obscenity” in the realm of powerful endorsements. (Same goes for his line that “any one of Hannah’s sentences picked at random holds more hope and joy than the entire self-help section at the O’Hare Barnes and Noble.”) I read these hosannas and picked up High Lonesome with an urgency reserved for grave injuries. Within the space of three pages, I could see Hannah’s talent for odd phrasing: a role in a college play requires much “dramatic amplitude;” a slacker confesses that “through [him] runs an inveterate refractoriness, almost a will to lose;” and a young boy complains with a juvenile bitterness about the ravings of a “turkey-throated aunt.” Nobody can dismiss these as novel deployments of well-trod constructions and ideas. Instead, they’re signals of a dizzying new dialect, the language of a nation-state of one.
Although High Lonesome had sold me, I knew it was a late-career production. I wanted to see if Hannah’s first collection would hit me as hard as its successor. Unlike High Lonesome, Airships consists of stories so short they rival Donald Barthelme’s for brevity. They’re not as dour as the stories in High Lonesome, and their plotlines are far more calamitous, but the stories in Airships are built with the same knack for joyfully addlepated wordplay. In “Testimony of Pilot,” a young boy, a “violent experimental chemist,” learns “the sulfur, potassium nitrate and charcoal mixture for gunpowder” before his 11th birthday. In “Quo Vadis, Smut?”, vigilantes drink a bottle of gin contaminated with bits of glass. We learn that the glass flakes “burn constantly but do not kill.” In “Return to Return,” a stroke victim coughs out “lengths” of phlegm, and when he later shows up in a vision coupled carnally with a character's mother, he appears in a cemetery “so [the stroke victim] won’t have far to fall when he explodes with fornication, the old infantryman of lust.”
Everything I quoted here points to a mind that knows the grotesque when it sees it. For Barry Hannah, all human beings, regardless of their station, find themselves inevitably pitched into a battle at birth. His violence is key to why I find his fiction seductive. When I read him, he calls me back, to a time not long ago that nevertheless seems distant, when the people I hung around didn't care a whit about prestige or the bull of the thinking class. Their fathers were off in Bosnia, and they didn't need our crap. It's fitting that Hannah's vagrants express this better than I can:
There is not even such a thing as a personal soul in many countries. The souls were dead already waiting for Marx, all he was was the final announcement. I am dying for you, I have had hell so you may carry on. Love me, every breathing motherfucker around me. I give you my lungs and heart to eat thereof. I taste like a sword.
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Barry Hannah’s “Lost” Novel
In December 2009, while home for the holidays in Meridian, MS, the town where Barry Hannah was born, I had a sudden feeling he was going to die soon. The feeling did not cause me to grieve in advance for one of my favorite writers. It caused me to buy a used copy of his out-of-print novel Nightwatchmen on Amazon before his death jacked up the price.
Barry Hannah sometimes jokingly referred to the book in third-person as “Barry Hannah’s ‘lost’ novel.” Published by Viking in 1973, Nightwatchmen was widely disparaged by critics, sold poorly, and, at the author’s wish, has never been back in print. That Hannah died two months after I bought a copy — his poor health was widely known, which is to say, my premonition wasn’t inexplicable — kept me from reading Nightwatchmen until recently. Over the past few years I preferred to know there was still one of his novels I could experience for the first time.
Now that I have read it, I’m glad I waited. Unobstructed by the pall of his death, it is easier to see the connection Hannah’s second book has with many of those that followed, the light it casts on what was to come.
Part academic satire and part murder mystery, Nightwatchmen is set at the fictional Southwestern Mississippi University, which, according to the jacket copy, “is under siege by the Absurd.” Someone known as The Knocker is terrorizing campus. This individual sneaks up behind people and conks them on the back of their heads. “He took no money from them. He took no tests or materials,” says one character of the situation. “He knocked out two women. He did not molest these women, either of them; just let them lie unconscious.” Matters escalate when two night watchmen are killed, their heads left in toilet bowls, badges rammed into each of their gaping mouths. No one knows if the person going around knocking heads is the same person going around cutting them off.
A makeshift investigation into the series of crimes is conducted by a man named Thorpe Trove, the owner of a mansion that serves as a boarding house for many graduate students from the school. Sympathetic confidant, avuncular intermediary, and semi-passive observer, Trove is to his tenants what Edna Garrett was to Natalie, Jo, Blair, and Tootie on The Facts of Life. His oddball narration frames this oddball book. “I have hair like a ball of dead orange leaves, purplish prescription glasses which I wear year round, and, I do fear, a sweet and clever look.” Scattered throughout his narration, though, are tape recordings Trove makes of people associated with the crimes, part of his effort to catch The Knocker and/or The Killer. Those recordings become miniature character studies, as seen in this passage spoken by a graduate student:
One of these days I will meet a girl with a sunburned navel who will see me burning up my birth certificate and my Ph.D. degree in a small fire on the beach and she will be enchanted by this, because it will have great style, and she will throw in her ticket with me, and we will make the present burn, my friends; we will eat one another like seafood.
The taped narratives provide little help in finding the culprit. Toward the end of the book, however, after Hurricane Camille destroys parts of campus as well as Thorpe Trove’s mansion, the mystery of the knocking and killing recedes in importance compared to how the characters in Nightwatchmen, following the disaster, continue on with their lives.
If the novel, judging by such a plot summary, sounds crazy, that only means you are not. Barry Hannah, after all, was someone who drunkenly shot an arrow through the door of his wife’s house during their separation, who dried out in Alabama’s state asylum, who, on his release, immediately returned with a carton of cigarettes for his fellow inmates. Guy like that knows from crazy.
The misbehavior that contributed to Hannah’s renown, his dipsomania and his irascibility, his prurience and his hoplophilia, is as well remembered as Nightwatchmen is forgotten. “I sat a princedom of literary fame,” he once wrote. “Then turned beast and threw it all away.” Nonetheless not enough has been made of how often people say much has been made of the Bad Barry. He was a man whose life was so colorful — shooting holes in the floorboard of his car, pulling a gun on a classroom of students — that, when people tell those stories, they don’t preface them with, “Tell me if you’ve heard this one,” but rather something more along the lines of, “Even though I know you’ve heard this one, it’s so good I’m going to tell it to you anyway.”
A similar concept applies to his fiction. People don’t recommend Barry Hannah. They simply say, “Airships,” and wait for the other person to nod and repeat the title as confirmation that they, too, have read Airships and loved it.
During the time he worked on his second novel Hannah was in a liminal state as an artist and as a person. His writing was coming together as his marriage was falling apart. Nightwatchmen is therefore both artistically and personally a transitional work for Hannah. Its borderline campy plot and rotating cast of narrators reveal it as a juncture in more than chronology between its predecessor and successor. The former, Geronimo Rex, is a traditional bildungsroman that, albeit episodic, centers on one protagonist, while the latter, Airships, is collection of unhinged short stories with fragmented, disjunctive points of view. Moreover, the tape recordings in Nightwatchmen are a physical incarnation of what would become a metaphysical approach in Hannah’s fourth book, Ray: the representation of many different times and many different voices within a singular moment.
Even at the sentence level Nightwatchmen displays the shift in Hannah toward polyphonic delirium. “I have an intuition that genius is going to hit my brain like a comet if I can wait just a few more years,” says one character, using language indicative of the author’s previous work, to which another character, using language indicative of the author’s future work, responds, “When it does could I maybe stand nearby and eat some of the raw light?”
One of the narrators in Nightwatchmen is Harriman Monroe, a drunken, ribald poet who, when asked what he writes about, gives an answer applicable to Hannah’s own work. “This happy disease my life. This hagridden bathroom epic. What I can balance on my peniscycle.” Monroe was formerly the protagonist of Geronimo Rex. Such a technique is typical of Hannah. In the daisy chain of his career he often hooked the bloom of a new book through stem of a past one. The novel The Tennis Handsome is umbilically tied to the stories “Return to Return” and “Midnight and I’m Not Famous Yet,” for example, as is Yonder Stands Your Orphan to “Water Liars,” “All the Old Harkening Faces at the Rail,” and “High-Water Railers.”
Still, despite the presence of Monroe in Nightwatchmen, Hannah invented a wholly new and different protagonist in Thorpe Trove. Consider his name. The word “trove” is derived from “treasure trove,” which in turn derives from the Anglo-French tresor trové, or “found treasure.” This character so lost in life has a name that means found.
At the time he was writing the novel Hannah could have been considered lost as well. Early on in Nightwatchmen Trove visits a library:
There were only two rows, one marked F and the other O. I asked about this and the librarian officer — who was reeking with gin — told me F was for Fuck Books and the O was for Other. I asked him which he would recommend. He said one was for animals and the other for intellectuals. I would have to choose for myself. It was a hard choice because I didn’t know myself — which one I really was.
Hannah was facing a similar choice in his work. Fuck Book or Other? Animal or intellectual? To find himself as a writer he had to finish what is now a lost book.
Although Nightwatchmen isn’t one of Hannah’s best novels, it contains traces of them, the expansive and youthful qualities of Geronimo Rex and the elegiac qualities of Hey Jack! and Boomerang, with just enough of Ray’s screwball nihilism to leaven the mix. This novel can be seen as the terroir, all the subsequent ones its varietals. With its blend of parody and pulp, Nightwatchmen — a game of Clue gone collegiate, Porky’s meets Rashomon, a chicken-fried Agatha Christie whodunit — foreshadows the use of tropes from the western genre in Never Die. Its large cast of characters predates the same feature in Yonder Stands Your Orphan. Its widespread array of events predates the same feature in The Tennis Handsome.
Those features are unfortunately the least successful ones in the book. Its cast of characters is a bit too large. The purpose of its use of genre tropes remains too much in flux. Its array of events is a bit too widespread.
Even Hannah agreed. In an interview titled “Bat Out of Hell,” with the calm bemusement typical of him when looking back at his stormy years, he said, “I’d like to rewrite my second book, Nightwatchmen, because I wrote it under hurried circumstance on the heels of my first book. It had no editing, and with just a few changes on the order of less equals more it could be a fine book.” Such regrets notwithstanding, that the book was a failure isn’t as important, I believe, so much as that it was a necessary failure, one that deserves to be read.
Barry Hannah died of a heart attack on March 1, 2010. Ever since that day, I’ve wondered how Hannah would have felt about whatever dimwit, half-wit, or nitwit who, after paying more than $40 for a copy, might try to redeem a novel he himself disparaged. He probably would have had a good laugh.
Image via nndb.com
A Year in Reading: Adam Levin
Like any number of people who love fiction, I tend to re-read my favorite books. It is not, however, common for me to read the same book twice in one year, and yet this year I've read two books twice—Christian TeBordo’s The Awful Possibilities and Adam Novy's The Avian Gospels. I want to say that these books remind a reader that his life is fleeting, that he’ll be separated from everything he loves pretty soon, that he’ll disappear forever and rot and be forgotten, but I worry that might sound like overstatement (if not—ick—oversharement), or, even worse, that it might lead you, the Millions visitor, fellow lover of fiction, to assume the books are unfun reads, when, in fact, they are playful and joy-bringing. What reminds you you’ll die is their in-your-face aliveness, their assured immortality.
Novy’s The Avian Gospels is a novel in two short volumes about a foreign boy in an unnamed city-state that borders Hungary and Oklahoma. The city-state is run by a despot, its local Gypsies invent first- and second-wave ska, the boy falls in love with the despot’s daughter, and when a plague of birds descends upon all of them, only the boy and his father (who are much at odds) can protect the city-state from total destruction, for the boy and his father can both control birds. Just to be clear: the foregoing two sentences contain no spoilers. All I’ve described is in play by page 20. Did I mention this novel’s really funny? It’s funny in the way Blood Meridian is funny, and American Tabloid, and In the Penal Colony.
The only kind of book that’s harder for me to describe than a good collection of short stories, is a great collection of short stories, and Christian TeBordo’s The Awful Possibilities is a great collection of short stories. As in Wallace’s Girl With Curious Hair, Salinger’s Nine Stories, and Hannah’s Airships, the subject matter in The Awful Possibilities varies widely, piece to piece. There’s the story about the girl who’s kidnapped by kidney thieves, the one about suburban hardcore rappers, the motivational-speaker-who-needs-a-new-wallet story, and the set of instructions for abusing your child that’s told by….See? It’s hard. I’m having a hard time. I’m doing TeBordo’s work very little justice—about as much justice as I’d be doing Mark Twain’s if, in summarizing Huckleberry Finn, I said no more than, “It’s a book about this kid.” I’m thinking that the only hope I have of even beginning to get across how stellar the experience of reading The Awful Possibilities is, is to give you the beginning of The Awful Possibilities, then get out of the way and say goodnight:
Imagine you’re planning your own school shooting. Imagine you have good reasons, and it’s none of that I-play-too-many-video-games-and-listen-to-Marilyn-Manson-because-no-one-likes-me bullshit. You’re in tenth grade and you do okay in classes and you’ve got plenty of friends for what it’s worth but it’s not worth much to you. You live in Brooklyn. Brooklyn, Iowa. There are no Jews in Brooklyn, Iowa. Keep that in mind.
Goodnight.
More from a Year in Reading 2010
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Barry Hannah, 1942-2010
Barry Hannah, the mind-blowing author of Airships and many other books, died Monday at age 67.
A Year in Reading: Kyle Minor
Kyle Minor is the author of In the Devil's Territory, a collection of short stories. His recent work appears in Best American Mystery Stories 2008, Surreal South, and Random House's Twentysomething Essays by Twentysomething Writers anthology.Five books that knocked the top of my head off in 2008:1. Knockemstiff, by Donald Ray Pollock - Eighteen wild and wooly stories from southern Ohio, in which a lifetime's experience is distilled to nine or twelve pages of the most thrilling sentences I've ever read. If you liked Denis Johnson's Jesus' Son, Barry Hannah's Airships, or Mark Richard's Charity, Knockemstiff is the book for you.2. The Seamstress of Hollywood Boulevard, by Erin McGraw - The elegance here is Flaubertian, the prose flawless, and the story (loosely based upon the true story of McGraw's disappeared-then-reappeared grandmother) is every bit as thrilling as anything Stephen King will serve up this year.3. Sabbath's Theater, by Philip Roth - The best comic novel from the best comic novelist in America.4. American Pastoral, by Philip Roth - The best serious novel from the best serious novelist in America.5. Max Perkins: Editor of Genius, by Scott Berg - A biography of Maxwell Perkins, the legendary editor who held the hands of Ernest Hemingway, F. Scott Fitzgerald, and Thomas Wolfe, as they made their way together from obscurity toward literary permanence. I can't imagine this book thrilled any reader in 1978, the year of its release, any more than it thrilled me thirty years later.More from A Year in Reading 2008
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