All You Can Ever Know: A Memoir

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National Book Critics Circle Award Finalists Announced



The National Book Critics Circle announced their 2018 Award Finalists, and the winners of three awards: the Ivan Sandrof Lifetime Achievement Award, John Leonard Prize, and Nona Balakian Citation for Excellence in Reviewing.

The finalists include 31 writers across six different categories: Fiction, Nonfiction, Biography, Autobiography, Fiction, Poetry, and Criticism. Here are the finalists separated by genre:

Fiction:
Milkman by Anna Burns (winner of the Man Booker Prize)
Slave Old Man by Patrick Chamoiseau (translated by Linda Coverdale)
The Largesse of the Sea Maiden by Denis Johnson
The Mars Room by Rachel Kushner
The House of Broken Angels by Luis Alberto Urrea

Nonfiction:
The Line Becomes a River: Dispatches from the Border by Francisco Cantú (part of our 2018 Great Book Preview)
Directorate S: The C.I.A. and America’s Secret Wars in Afghanistan and Pakistan by Steve Coll
The Coddling of the American Mind: How Good Intentions and Bad Ideas Are Setting Up a Generation for Failure by Greg Lukianoff and Jonathan Haidt
We the Corporations: How American Businesses Won Their Civil Rights by Adam Winkler
God Save Texas: A Journey into the Soul of the Lone Star State by Lawrence Wright

Biography:
Flash: The Making of Weegee the Famous by Christopher Bonanos
Ninety-Nine Glimpses of Princess Margaret by Craig Brown
Inseparable: The Original Siamese Twins and Their Rendezvous with American History by Yunte Huang
The Man in the Glass House: Philip Johnson, Architect of the Modern Century by Mark Lamster
The Big Fella: Babe Ruth and the World He Created by Jane Leavy

Autobiography:
The Day That Went Missing: A Family’s Story by Richard Beard
All You Can Ever Know: A Memoir by Nicole Chung
What Drowns the Flowers in Your Mouth: A Memoir of Brotherhood by Rigoberto Gonzalez
Belonging: A German Reckons With History and Home by Nora Krug
Old in Art School: A Memoir of Starting Over by Nell Painter
Educated: A Memoir by Tara Westover

Poetry:
American Sonnets for My Past and Future Assassin by Terrance Hayes (read our review)
The Carrying by Ada Limón (found in our August 2018 Must-Read Poetry list)
Holy Moly Carry Me by Erika Meitner
Still Life with Two Dead Peacocks and a Girl by Diane Seuss
Asymmetry by Adam Zagajewski (translated by Clare Cavanagh)

Criticism:
Is It Still Good to Ya?: Fifty Years of Rock Criticism, 1967-2017 by Robert Christgau
Tyrant: Shakespeare on Politics by Stephen Greenblatt
To Float in the Space Between: A Life and Work in Conversation with the Life and Work of Etheridge Knight by Terrance Hayes
The Reckonings: Essays by Lacy M. Johnson
Feel Free: Essays by Zadie Smith (found in our February 2018 Monthly Book Preview)

Here are the winners of the three stand-alone awards: Arte Público Press won the Ivan Sandrof Lifetime Achievement Award for their contributions to book culture. Maureen Corrigan won the Nona Balakin Citation for Excellence in Reviewing. Tommy Orange’s There There won the John Leonard Prize for a first book in any genre. (Read Orange’s 2018 Year in Reading entry).

The winners of the National Book Critics Circle awards will be announced on March 14, 2019.

A Year in Reading: Rachel Khong

For better and worse, books are how I learn things. Kissing, for instance. Though I wouldn’t get the opportunity to implement this knowledge for another solid decade (or, uh, more) I referred, with hope, to the Junior Girl Scout handbook. Year after year, I read to understand, knowing that it’s a futile exercise—limitless in both the exhausting and reassuring ways. Exhaustingly, reassuringly, there is always more to know. 2018 was another Year in Reading to know more—embarrassingly literally at times. The books I read fell into a few main categories:

Literal self-help! In 2018 I did things I’d never done before and read books about them. In January I started a business; I read Starting a Business for Dummies. I read Let My People Go Surfing by Yvon Chouinard, the founder of Patagonia, about letting your employees go surfing (the self-help realm is all about the subtitles, and Chouinard’s is: The Education of a Reluctant Businessman). A book that legit changed my life was one I found on a shelf in an Airbnb: David Allen’s Getting Things Done, about Getting Things Done®! (Subtitle: The Art of Stress-Free Productivity.) I thought I was sort of spending too much time on my phone so I read a book called How to Break Up With Your Phone and it more or less worked. In June we adopted a kitten from the SPCA. I read Total Cat Mojo (The Ultimate Guide to Life with Your Cat) by Jackson Galaxy, in which he recommends blinking slowly at your cat to express love. I read a book called Adventure Cats: Living Nine Lives to the Fullest, about taking cats on hikes. Indeed, I remain as cool as I was at age 9.

In the category of fiction that is haunting/beautiful/devastating and wholly engrossing: Freshwater by Akwaeke Emezi. An American Marriage by Tayari Jones. Exit West by Mohsin Hamid. Tommy Orange’s perfectly calibrated There There. In a single sitting, I read The Incendiaries by R.O. Kwon—an otherworldly, wonderful thing.

In the category of opening doors to other worlds, a la Exit West: I read memoirs that put me squarely in other people’s bodies: This Will Be My Undoing by Morgan Jerkins, Heart Berries by Terese Marie Mailhot, All You Can Ever Know by Nicole Chung, and The Fact of a Body by Alexandria Marzano-Lesnevich—all memoirs from distinct, memorable, assured voices.

In the category of laughing/crying perfection and exactly my cup of tea: I teared up (for sad and happy reasons!) at Less by Andrew Sean Greer, Kudos by Rachel Cusk, and The Idiot by Elif Batuman. These were books that made me laugh and broke my heart—a combo I love wholeheartedly.

In the category of the female experience made scarily visceral: You Are Having a Good Time by Amie Barrodale, a book of too-real, resonant short stories. And The Power by Naomi Alderman and Sheila Heti’s Motherhood were books that articulated my questions exactly, in perfect timing.

Maybe I read also to get mad? In the category of books I read and got mad at: The Corrections and Freedom (I know, I know, but I enjoyed Purity, and honestly, truly was open to enjoying these too). There were a few books I should have put aside and read anyway, due to my I-always-have-to-finish-a-book-even-though-I-know-life-is-short rule. And I know it makes me a chicken to not name names, but listen, I just won’t. One was an acclaimed thing that made me actually throw it across the room because of its overly, well, florid descriptions of flora. The other was by an exceedingly acclaimed author that included incredibly racist descriptions of all its Asian characters (and when I googled the author’s name with “racist against Asians” the search yielded nothing, meaning that even though this was the year of Crazy Rich Asians, it remains a year in which casual racism against Asians is still okay).

Speaking of being tired, tired, tired of the way things are, I read texts like manuals. In the category of books I read to make things different, make things better: Emergent Strategy by Adrienne Maree Brown. bell hooks’s Feminism Is for Everybody. Audre Lorde’s Sister Outsider. Roxane Gay’s Bad Feminist. We Should All Be Feminists by Chimamanda Ngozi Adichie. These are books that both galvanized me and made me hopeful—that pointed me in the right direction.

Most recently, in the category of nonfiction that describes the invisible and real, I’ve read: Ai Jin Poo’s The Age of Dignity, about the ways in which we’re woefully underprepared to take care of our aging in America. And Ed Yong’s I Contain Multitudes, about the invisible world of microbes. What I learn is this: Counter to everything we’ve been taught about evolution, change doesn’t necessarily happen glacially, especially when bacteria are involved. There’s fluidity to how bacteria and their hosts interact: exchanging information, changing constitutions, and swiftly adapting. A woodrat living in the desert can eat poisonous creosote plants because they have bacteria that live in their guts that can detoxify it. If you put the same bacteria into the guts of other animals, they can start eating poisonous creosote, too! And this change doesn’t take hundreds of years, it just happens! There is a metaphor somewhere in there about reading, maybe.

More from A Year in Reading 2018

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A Year in Reading: Ingrid Rojas Contreras

2018 has been politically dismal, but buoyant on the literary front, and the confluence of these two things have made this a year in slow reading for me. During the most difficult time in my life, when I left my home country 20 years ago, I only had one short story collection with me. It was a Julio Cortazar collection of short stories. I read it over and over, especially the short story “La autopista del sur.” I found solace in reading the same plot, but also in the fact that as I read something abstract seemed to be gaining intractable solidity. I found silly hope in the way life stalled completely in the middle of that surreal and interminable traffic jam just outside of Paris in “La autopista del sur.” I felt joy reading over and over that life emerged out of the strangest circumstances. That if traffic stopped for long enough, the stuff of life would come forward: suicide, love, pregnancy, a break up. I found joy too in the way lives broke apart just as suddenly, once the traffic began once again to move.

There is an exciting moment when one part of reality crumbles and a new one can emerge—that’s what I learned from reading this story on repeat.

I have been often distracted, dismayed by political outcomes and procedures this year, but I have remained blissfully absorbed in the only thing that matters the most to me—books.

When I think back to my year in reading, I am infinitely grateful to a number of books that gave me joy in one way or another.

There was Rebecca Makkai’s sublime The Hundred Year House and Luis Alberto Urrea’s House of Broken Angels—this last written in the liminal heaven between Spanish and English; my kind of heaven. There was Viet Thahn Nguyen’s expansive anthology The Displaced: Refugee Writers on Refugee Lives. I finally got to Nguyen’s short story collection The Refugees, which I have not been able to move on from let alone forget. I loved Natalia Sylvester’s Everyone Knows You Go Home. Tommy Orange’s There There and Nana Kwame Adjei-Branyah’s Friday Black were important to me. Friday Black is unnerving and wild, satirical and masterful. I’ve been pushing into the hands of everyone I meet, describing it as Get Out meets Black Mirror—I may be obsessed. There There is such a gorgeous book. It is bold and unforgettable—a work of stunning imagination from its preface to last line. I closed this book in late June but continue to feel reverberations from it—thinking at odd moments about its expression of land as memory lost, and its people as people unmoored.

Six women and their books are foremost on my mind. R.O. Kwon’s powerful The Incendiaries—a fuse of a novel about the chasm of losing faith and going off the deep end of belief—is a profound meditation on faith and losing faith. Crystal Hana Kim’s If You Leave Me—which opens in Korea during the civil war—had me thoroughly impressed, heartbroken, wedded to its world. All You Can Ever Know by Nicole Chung startled me. This memoir about interracial adoption and the unshakeable ties of family is inexhaustibly insightful. Lydia Kiesling’s The Golden State, about a mother and a baby and a road trip, is visceral, deliciously smart, and stirred up my all my emotions at once. Vanessa Hua’s River of Stars, about a pair of Chinese immigrant woman searching for and contending with the reality of the American dream, was luminous in the way that all of Vanessa’s writing is luminous to me. And Lillian Li’s Number One Chinese Restaurant, following the life inside a restaurant, is so exuberant it makes me downright excited for this writer and all the books she will come to write.

I am also dying one sentence at a time by Alexander Chee’s How to Write an Autobiographical Novel. Organized around the nature of writing and the basic operation of the craft of story, this is a book about life itself. I believe in this book so much I find myself opening it at random as if it were an oracle. I recently finished Valeria Luiselli’s Lost Children Archive, which I may have lost my mind over.  

Lastly, I’ve been rereading One Hundred Years of Solitude all year. It’s something I do sometimes. Read and reread sentences one at a time. Open the book at random. Try to shake something true out.

More from A Year in Reading 2018

Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.

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A Year in Reading: Steph Opitz

Longtime listener, first-time caller. I’m excited to be here talking about my Year in Reading. This was the first full year in almost a decade that I didn’t have a monthly column in Marie Claire magazine to write about forthcoming books. As a result, my reading had less structure than usual. I put down a lot of books that didn’t do it for me, and shuffled and reshuffled my to-be-read pile to my heart’s content. It’s been liberating. But, a new restraint has also entered the scene. My toddler has recently become a book connoisseur. He often hijacks the book I’m reading for himself or replaces it with something he’d prefer to have me read—which is more often than not Bao Phi and illustrator Thi Bui’s A Different Pond, author and illustrator Brian Floca’s Locomotive, or Jane Yolan and illustrator John Schoenherr’s Owl Moon. I’m grateful to the authors and illustrators for providing rich text and complex art that keeps us both rapt after multiple readings.

Before I get to the adult titles I read this year, I’ll start with a confession. When I read poet phenom Carrie Fountain’s young adult debut I’m Not Missing and novelist Marisha Pessl’s Neverworld Wake, I actually didn’t know either was YA. When I got to the end of both, I was like, Huh, I wonder if they had any conversations about billing this as YA? Seems like it could go either way—fans of Karen Thompson Walker’s The Age of Miracles know what I’m talking about—with a teen protagonist going through some real adult shit. Which is to say, if you balk at the YA dubbing you’re missing out. I like to think of a YA designation as a kind of PG-13 designation; it doesn’t mean it’s only for teens, it just means that it’s not inappropriate for teens. As case in point, a transformative book I read earlier this year, The Hate U Give by Angie Thomas, is essential. Every high schooler in the country should be required to read it, and all adults retroactively should, too.

Now, onto the adult books. A book that made me emotional as hell: I Am, I Am, I Am: Seventeen Brushes with Death by Maggie O’Farrell. Maggie O’Farrell beautifully flays the moments in her own life that danced with true danger, and asks, What could happen? What did happen? Am I ok? Depending on if you’re a glass-half-full or a glass-half-empty person, my life has had a lot of unlucky brushes or I’m one of the luckiest people you’ve met. So this particular collection poked at a lot of my most sensitive thoughts. I’d recommend this book to everyone who loved Wild by Cheryl Strayed, as this, too, is a penned head nod at the real and invisible scars women carry.

I was lucky to travel a bit this year, and it’s important you know that I don’t believe in vacation reading as a separate genre. Whatever book I might choose to read at the beach, is a beach read. Some of my ““beach”” reading included some amazing LGBTQ titles like John Boyne’s The Heart’s Invisible Furies, Chelsey Johnson’s Stray City, and, the exciting new king of the footnote (I can’t, in good conscious, celebrate David Foster Wallace anymore), Jordy Rosenberg with Confessions of the Fox. On one particular trip, my husband, our four closest friends, and I went on spring break. Without any of our children present, we relished in the unencumbered time to do whatever we wanted—floating in the ocean for hours, sleeping in, happy hours, or reading at a speed that didn’t suggest a child might cut short the reading time at any moment. The only book I ended up reading on this trip, slowly, engrossed by it the way it should be was There, There by Tommy Orange. This book is stunning and made me literally gasp at the end.

I’m an audiobook junkie. I drive a decent amount—commuting to and from work and daycare—so that makes up a significant part of my listening. But I’m not precious about how much time I have. I just get started, even if it’s only a 10-minute drive; it adds up, naysayers! When I’m hooked, I end up putting in headphones and listening while I cook, or while I do laundry. I’ll even uncharacteristically make up errands and chores to keep listening. Some particularly wonderful books that I enjoyed on audio this year are Eleanor Oliphant is Completely Fine by Gail Honeyman (one could argue audiobook is the preferred format for this book as the Scottish accents make all the difference), Rumaan Alam’s That Kind of Mother, Luis Alberto Urrea’s House of Broken Angels, My Year of Rest and Relaxation by Ottessa Moshfegh, Less by Andrew Sean Greer. Less is one of the more hyped books in the past few years (I guess a Pulitzer Prize under the belt does that?) but it’s well worth the praise, just stick with it! I’m the queen of ignoring hype for no good reason except for the sake of it. I’m working on it. Which is to say, Pachinko by Min Jin Lee took me a year to get to, a year that I could’ve been living with that book in my brain! I’m glad I rectified it. Circe, too, by Madeline Miller. The description didn’t grab me, and I can’t remember what ultimately made me read it, but that book literally has everything. For these lapses, my New Year’s Resolution is to consider widespread acclaim more carefully, so as not to delay reading some great books.

Perks of my job include being able to sweet talk my way into very early copies of some books. I was able to finagle Miriam Toews and Susan Choi’s forthcoming books, Women Talking and Trust Exercise. And Maryse Meijer’s Northwood (which is now available). All left me dizzy with their strength of voice and inventive forms, dying to find folks who had also had the early preview to hash them out with. JFC, these women can write. I was so deeply affected by all three that I have the chills just typing this out. Peter Geye’s latest novel, Northernmost, doesn’t come out till 2020, so, sorry, sorry, sorry to bring it up now but it’s sexy, thrilling, and Minnesotan—this Minnesotan never gets to say all those words in the same sentence so I’ll beg your pardon for that very early peek. I also recently finished Dani Shapiro’s latest memoir, out in January, Inheritance. Dani’s ability to write in the middle of a moment is unparalleled and this book is no exception; in it she has very recently learned her father is not her biological father. I’m actively wondering if Ancestry.com is going to start giving her a cut of the inevitable sales boost post publication.

Do you watch Midsomer Murders? My dad and I love to watch that show together. If you’re a fan, Magpie Murders by Anthony Horowitz seems like a good book to tell you to read. I struggle to explain the details because I hate to prep people for a plot twist, but this one is [chef’s kiss]. I hadn’t previously deliberately read many mysteries or thrillers, despite my penchant for them in movies and TV. So this year I dabbled, and I’ll give a shout out to Mira Grant whose book Into the Drowning Deep scared me so effectively and thoroughly I may never get into the ocean again.

Other books that made deep impressions on me this year: Karen Tei Yamishita’s Letters to Memory, Jamie Quatro’s Fire Sermon, Meaghan O’Connell’s And Now We Have Everything, Neal Thompson’s Kickflip Boys, Nicole Chung’s All You Can Ever Know, and Kim Fu’s The Lost Girls of Camp Forevermore (as a Fu megafan, I was thrilled and satiated to read her latest). In Curtis Sittenfeld’s You Think It, I’ll Say It, the title story is so realistic that I still feel sad for the protagonist and her deep misreading of an encounter.

While I’m wrapping up and wondering what book(s) I’m forgetting here, the book I spent the most time with this year and am better for is Ada Limón’s The Carrying. Ada’s work is a gift. I will fight anyone who says they don’t want to read it because they’re not a poetry person (and by “fight,” I mean direct you to your local indie or library to flip through the pages and convert you).

On deck? I’m chomping at the bit for early copies of Catherine Chung’s The Tenth Muse and Mira Jacob’s Good Talk, both out next year. I’m also reading all the titles of folks coming to Wordplay, May 11-12 in Minneapolis (we’ll be releasing the full line-up of authors on January 17). And, meanwhile, I’m considering becoming a person who buys lottery tickets so I can get a producer credit on Dan Sheenan’s Restless Souls, a book that is so gorgeously cinematic it boggles the mind that it has not yet been made into a movie.

More from A Year in Reading 2018

Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.

Don’t miss: A Year in Reading 2017201620152014201320122011201020092008200720062005

A Year in Reading: Lydia Kiesling

1.
My first book was published on September 4, and I was supposed to interview the writer Karl Ove Knausgaard in front of an audience on September 24. In early summer I obtained the six volumes of My Struggle, and the four volumes of the Seasons Quartet. I put these together in a pile and added the book he wrote about soccer, and noted down the names of his earlier books. I was going to read them all, I told myself, and I also told this to the somewhat incredulous organizers. The writer who first interviewed him for the same program, I suspected, did not read all of Karl Ove Knausgaard’s works to prepare. But that writer had male authority, and I don’t.

The middle days of summer slipped by. I developed a “bit.” “How are you feeling about your book?” someone might ask, and I would say, jauntily, “I’m glad I have this Karl Ove Knausgaard thing looming, because it means I can’t even be anxious about my own book, haha.” This was not entirely true. It is true that my anxiety was more dispersed than it might have been, but it was still there in quantity. The Knausgaard assignment felt like a metaphor for other things in life—everything I have ever enrolled in and then realized, with absolute certainty and invariably too late, that I do not have the constitution for. (This is usually how I feel about good things: The book that I myself wrote, for example, or sometimes, the children I gave birth to.) How had I, a person genuinely awe-struck by people who do half-marathons, so cheerfully signed up for the greatest feat of endurance in contemporary letters?

The waning days of summer slipped by. I started to panic. There was always a volume of My Struggle with me, and thus Karl Ove, or the version of Karl Ove that Karl Ove had seen fit to enshrine on the page, was with me. Karl Ove was with me when I got into bed at night, before my husband demanded that we turn out the lights. He was with me on the bus. He was with me at restaurants and coffee shops. As my own publication date approached, as I had less and less time to read, I read volumes 1 and 2 closely. I was not insensible to the fact that I had taken on an enormous amount of labor for A Man, and that angst about this was going to overshadow my own big day. I noticed that I was developing a little rash on my neck, just under the hairline (it is still there). Karl Ove was with me when I ate two orders of fried chicken wings from the restaurant around the corner, even as I was supposed to be slimming in advance of my publication date. “I was wondering whether you would finish all of those,” the server said admiringly. She was talking about the wings, which I could finish, and not the books, which it had become obvious I couldn’t. I skimmed volumes 3 and 4.

2.
One problem with reading My Struggle is that after each session I could remember almost nothing substantive—certainly no lines stood out in memory, although there were many that stood out as I was reading, many that I underlined and circled and asterisked. Reading the books was a strange, dreamlike experience, a quiet onslaught. When I first started, when I still felt like I had some time, I took notes on almost every page. When I knew that I didn’t have enough time, I started taking only very crucial notes on the endpapers. I told myself I was only allowed to have as many thoughts as there was room on the endpapers of each book.

What do I remember? I vividly remember the part where he and his brother clean the filthy house of his grandmother after his father dies there. I remember that this was one of the parts that incensed his litigious uncle, who loomed over Karl Ove’s own pre-publication period. I remember that Karl Ove seems to hate things involving book publicity, like, for example, being interviewed on a stage.

3.
I spent a lot of time, after delivering my “bit,” hearing people be scornful about Karl Ove Knausgaard. And I understand it, even though I love the books. I am mad, too. The project is amazing in its hubris. But it is also very interesting. The character of Karl Ove who is written in the pages is maddening. But he is also very interesting. When I was reading I thought about how similar I felt to him in some ways, but how I am really probably more like his second wife, with whom I felt less affinity (he wrote her, after all). I felt utterly reproached by his level of involvement in the housekeeping, by his mania for order, by a participation in domesticity that demolished my excuses about my own artistic production and my domestic shortcomings. I have fewer children, and fewer books written or read, and a messier house. Karl Ove writes about how this discrepancy enraged his second wife, too.

It pained me how good his descriptions were of getting children out of the house, or just doing anything with children. One place where Karl Ove was not with me was when I was on my way to or from daycare and preschool pick-ups and drop-offs, when I only “read” my phone as I swayed on the bus. Sometimes I had a baby strapped to me as I did this, one of the cuter babies in history, and sometimes I would forget that she was there for a while and then look down and find her playing peek-a-boo with a grandmotherly figure on the bus. I felt reproached by this, too. “Put your phone down and notice her, idiot,” I imagined these women were telegraphing to me. “Life is so short.” Now I am reading Socks by Beverly Cleary to my older daughter and it makes me feel a little better: Mrs. Bricker sits at her typewriter typing papers while her baby plays on the mat. She gives the baby spoons and other kitchen junk to play with.

I became obsessed with Norwegian and Swedish social policies. Back with Karl Ove, I underlined every part where he scoffed at Swedish sanctimony and hypocrisy. TRY LIVING HERE, I would scream in my head, to no one. I couldn’t help noting that this reading assignment was the corner office in the women’s work of thinking about men who are not thinking about you.

Rather on the nose, right before my book came out, I was afflicted with strange long-term bleeding (27 days) which, after much poking and scanning and taking of pills, was determined to be the result of inefficiently weaning the baby two months before, and resulting hormonal storms.

4.
Book 6 came with me on my short book tour. When it arrived in the mail I laughed because it’s simply enormous, and a peculiar shape. It became its own metaphor. On the airplane, it was my personal item. I jammed it under the Ziploc bag of 3-ounces-or-less toiletries, in a shoulder bag whose straps weren’t up to the challenge. At JFK, I was called for extra screening. The agent removed the book from the bag and wiped its fore-edge with the strip of paper they stick into a machine to see if it’s a bomb. I had to bite my tongue to avoid saying something like, “It’s not a bomb, haha, just a very big book!”

But it was a bomb. It was a ticking time bomb, poised to blow me up on the stage of San Francisco’s historic Nourse theater, the detonation broadcast by my local NPR affiliate. “How do you think Sweden’s social policies have fit in with your life as a working writer and parent?” I would say. “Why do you want to know?” he would say, smoldering and furious. I would forget everything, I would sound stupid, I would look ugly, I would have the wrong outfit, I wouldn’t know how to pronounce Karl Ove Knausgaard, I wouldn’t know how to pronounce Knut Hamsun, no one would buy my book, I would never write a second book, I would be mean to my children.

Meanwhile, I purchased more makeup products so that if someone took a picture of me at my own book readings I wouldn’t look as shitty as I felt. I calculated the number of pages I had to read per day to finish the book and skim the neglected book 5. I wished I could be reading anything else. My book came out around the same time as a huge glut of wonderful books, some of which I decided to read instead of Karl Ove: Number One Chinese Restaurant, The Incendiaries, Boomer1, All You Can Ever Know, A Terrible Country. Before Karl Ove loomed I read Like a Mother, which every person in America should read whether they intend to reproduce or not.

While on vacation I read Severance and have evangelized madly about it to anyone who will listen: a book about work that puts the work in the context of globalization, a book that is mordant and sad and full of quicksilver allegories. I loved that book so much. I also loved A River of Stars, which checks my favorite boxes for fiction—it communicates something complicated about society, you root for the people in it, you see the sights and taste the food and hold the babies it describes. It’s also a great California book. Before Knausgaard I read other books about the American West, city and country. I read The Wild Birds. I read In the Distance. I read This Radical Land, the parts about California. I read Chosen Country, about the Bundys and Malheur. I read There There. I missed these books. I missed reading books that you could finish.

The prospect of going on the book tour was very exciting from a distance, because as a concept it combines “business trip” with “artistic temperament” and everything decadent and slightly immoral that is supposed to go along with those things. I laugh to think about this now because like many things that seem sexy and glamorous from afar, the reality was somewhat different. The reality was me, and my anxiety and my rash, missing my family and feeling guilty for leaving them, and eating roadside muffins and carrying Karl Ove around in my bag. On the train from Philadelphia to New York I thought suddenly about a book I had read months earlier, Fire Sermon, which is a quiet bomb of a book about fidelity and infidelity and desire. I remembered it being about about the spot where desire and reality coincide, and this applies to sex and love, sure, but also to career and art and everything a person might secretly yearn for in the night, every road not taken, every experience of the thing you want and the thing you get being both the same thing and somehow, different things entirely. I thought about that novel with a kind of yearning. I wanted to cheat on Karl Ove. I also wondered if Karl Ove would have delivered me anything like this amount of angst if he weren’t so handsome in all his author photos, if he didn’t cavalierly smoke cigarettes and famously break hearts. (Probably not.)

All this was irrelevant, because September 24 loomed. With seven days to go until Knausgaard Night, I worked on Volume 6 in the subway during a day off on the tour. I went to the Metropolitan Museum. The subway was nice and cool and I had a seat and a pen and the air felt conductive. I didn’t itch, my brain was working: I was getting serious. And as so often happens in the procrastinator’s life, it felt like I was getting serious just late enough to do a less-good job—to have a sense of the job I might have done, and to mourn it. I paused to mourn; I scribbled notes on the nice woven endpapers. I had questions I was going to ask, about politics and national identity. I could feel a woman adjacent watching me. Shortly before we disembarked she asked me if I was a writer and I said, after some hesitation, “Yes.” She said she wished I could teach her to write and I said I wished so too, although there are many people more qualified. In the museum I looked at paintings and sarcophagi and papal frocks and I was so happy, and the bomb felt light in my bag.

The next day, I was standing in the rain outside a subway entrance and checked my phone before descending. There was an email: due to unforeseen events, Karl Ove Knausgaard was regretfully canceling his appearances. The bomb detonated with a fizzle. I had not even gotten to Hitler. The relief was tremendous, but after the adrenaline something else swept in, something bittersweet.

5.
And then I could freely read other things, books on their way to publication: I read American Spy by Lauren Wilkinson, which is about what it says in the title but about so much more—about patriotism and disillusionment and black Americans in federal service and communist panic and American governmental and para-governmental fuckery regarding foreign governments. I read The Trojan War Museum by Ayşe Papatya Bucak, a collection of short stories that finds many terrible and miraculous moments—real and less-real, past and present, in America, in Turkey, in the Ottoman and other empires—and turns them into gorgeous, living, provocative stories and vignettes. I read The Round House, which is not new but which was new to me. I loved these books.

I took a break from Karl Ove, so I have still not gotten to Hitler.

6.
Two months later the organizers of the Knausgaard program, who are lovely people (and who still paid me something for the canceled job), invited me to deliver a brief introduction to Jonathan Franzen as a consolation. This is another man who people are often mad at and whose work I love. This didn’t carry anything like the drama of the thwarted Knausgaard night, because I didn’t have to read anything new and the introduction was three minutes long. It also took place a few days after my father-in-law died, and this had put things into perspective.

Our friends and neighbors cared for my children like they were their own, picking them up and feeding them and putting them to bed while I got my hair blown out and taped up the hem of my formal jumpsuit and practiced saying my three-minute introduction into my phone. Jonathan Franzen was affable, and the writer Kathryn Chetkovich, who was there too, was kind (actually, I did read something to prepare—I read this remarkable essay by her). When I got home I took The Corrections off the shelf. Although the particulars are wildly different it still seemed like a suitable thing to read when you are mourning the passing of a white father from a particular generation in America. My father-in-law, a member of the Silent Generation, was another man with whom I carried on mostly imaginary conversations. Now that he is gone I don’t find myself using Facebook as much, because lately I had mostly used it for these conversations. I had used it to say: “I’m furious about the state of the world.” He had used it to say: “I’m proud of you.” My husband wasn’t home, because he was still with his family doing the much harder work of a grieving son. I kept the lights on in bed as long as I wanted, read a book I knew I could finish, and was briefly consoled.

More from A Year in Reading 2018

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Don’t miss: A Year in Reading 2017201620152014201320122011201020092008200720062005

A Year in Reading: Lucy Tan

2018 has been—for us all, I think—a year full of fear and alarm. For that reason, it was also a year in which my reading habits changed. I’ve been reading compulsively, not only for curiosity and solace but also for distraction. Overwhelmed by the news, I’ve been reading less nonfiction than I usually do. And because this is the year my first novel came out, I’ve also been keeping a closer watch on contemporary fiction. What I’ve come to realize in 2018, more than any other year, is that books really can provide relief (and in some cases, answers). Here are the ones that—through some combination of truth, beauty, and intrigue—have made my life richer.

In January, Chloe Benjamin’s The Immortalists was released. The first time I encountered it, I read for a few hours straight, standing upright in a stranger’s kitchen. The book is so good I’d forgotten where I was. Soon after, I read Leni Zumas’s Red Clocks, which is my favorite feminist read of the year. It was frightening and empowering, and I wanted to talk about with everyone I knew. In the spring, I finished reading the story collection Elegy on Kinderklavier by Arna Bontemps Hemenway, about memory, identity, and war. I read it over a few months because each word is perfectly chosen, the emotional weight in each story perfectly calibrated. I also read The Friend by Sigrid Nunez, which hit me harder than a book has in a very long time. It made me think more deeply, first about what it means to be a writer, and second, about what it means to be a writer working right now.

This summer, something wonderful happened. What seems like a decade’s worth of fiction by Asian-American women was published all at once. Of those I read, I savored each one. The Incendiaries by R.O. Kwon is a lyrical feast. If You Leave Me by Crystal Hana Kim introduced me to Haemi, one of my favorite characters in all of literature. A River of Stars, by Vanessa Hua, is a page-turning, heart-filling novel about two immigrant women on the run with their newborn children. In Number One Chinese Restaurant, Lillian Li writes about community and love in a poignant, unforgettable way. What a range of worlds spanning time and space, what a wealth of talent! I am waiting for the opportunity to dive into The Ensemble by Aja Gabel, Bury What We Cannot Take by Kirsten Chen, Severance by Ling Ma, and All You Can Ever Know by Nicole Chung. The floodgates have opened for Asian-American stories, and I have a feeling they’re going to stay open. Next year, Susie Yang is publishing White Ivy, a novel remarkable in both scope and substance. Ocean Vuong’s highly anticipated debut novel, On Earth We’re Briefly Gorgeous, also hits shelves in 2019.

In the fall, I read Jamel Brinkley’s A Lucky Man and Tommy Orange’s There There, which were both urgent and moving. That Kind of Mother by Rumaan Alam is the smartest work of fiction I read in 2018. It’s a gorgeously written, complex, and unsettling book about motherhood and white privilege. I also want to talk about Asymmetry by Lisa Halliday, which is the most inventive and inspired book I’ve read this year. I loved it almost as much as Amy Bonnaffons’s hilarious and striking collection The Wrong Heaven, which sent me back to the blank page, wanting to play with form.

The best non-fiction book I read this year was by Beth Macy. Dopesick: Dealers, Doctors, and the Drug Company That Addicted America is a heart-wrenching and necessary look at the opioid crisis in America. Read this book and you may find yourself starting to understand our country in surprising ways, as I did.

The best mystery/thriller I read this year is a tie between The Perfect Nanny by Leslie Slimani and Then She Was Gone by Lisa Jewell. The former is a true literary thriller, psychologically disturbing and very well written. The latter is a book about a kidnapped dead girl. I’m generally through with stories about kidnapped dead girls, but I read this book upon recommendation, and I’m glad I did. It had me petrified, not only of the characters, but of my own theories about the novel’s resolution. Elegantly constructed and cleanly written, it’s well worth your time. I’ve also been enjoying 2018’s Best American Mystery Stories, edited by Louise Penny. T.C. Boyle has a story in there called “The Designee,” which is both suspenseful and heartbreaking.

I can’t forget to mention my brief obsession with the Japanese writer Hiromi Kawakami. Strange Weather in Tokyo, translated by Allison Markwell Powell, is a soul book for me. It gets at loneliness in a way I haven’t read in a long time. Xiaolu Guo is another writer I read this year whom I deeply admire. A Concise Chinese-English Dictionary for Lovers is a raw and often uncomfortable consideration of language and alienation. It spoke to the part of me that feels at home in neither America nor China.

I’ve been reading, but I’ve been listening, too. This year, I moved to Madison for a fellowship at the Wisconsin Institute for Creative Writing and became part of a community of emerging writers. We gather to read our work out loud. Hearing these authors’ poems and stories spoken in their own voices has given me life and sent me back to the writing desk with my head bowed and fire in my chest. Read this poem and essayby Natasha Oladokun, this poemby Chekwube Danladi, this book by Natalie Eilbert. I’ve had the rare pleasure of hearing Mary Terrier and Kate Wisel read from their novels-in-progress. These novels are very different from each other but both are devastating and bold, and already so sharp in their manuscript forms that I know they’ll take your heads off as soon as they’re published. Next September, we’ll be treated to Aria Aber’s first book of poetry, titled Nearby Is the Country They Call Life, which cannot arrive soon enough. And Emily Shetler’s fiction is as inviting and layered as the lives of the people in her stories.

Here’s a weird thing: I’ve also been reading me. In 2017, as I was going through my novel draft after draft with a red pen, begging tiny changes from my copyeditor at the very last minute, I thought to myself, In 2018 I’ll never have to read this novel again! That turned out to be the opposite of true. But I’ve come to find that I enjoy giving readings, where I can offer my characters a physical voice and a body to occupy in a specific time and place. It’s become clear to me how powerful it is to hear a human voice behind a narrative. As a person of color, it feels not dissimilar to finally seeing faces like mine on TV and in theaters as we play roles we’ve written or originated—something we’ve gotten to see much more of this year. Suffice it to say, I’ve begun to appreciate reading as an art form. 2018 is also the year in which I’ve embraced audiobooks—though of course, nothing will replace the sight and feel of a physical book in my hands. Currently, I’m listening to A Man Called Ove by Fredrick Backman, which is the only reason I know how to pronounce the name“Ove” (ooh-vuh).

What else have I been reading? Strong undergraduate writing from the students at the University of Wisconsin-Madison. The empathy and curiosity in my students’ fiction gives me hope not only for the state of literature but also for the state of our nation. In class, they want to discuss: Who has the right to tell this story? What are the implications of writing from first person point of view? What place does fiction have in politics, and politics in fiction? I don’t have all the answers, but together, we’re making study of it. This semester, we’ve been reading work by Danielle Evans, Justin Torres, Lorrie Moore, Jamel Brinkley, and Joann Beard.

Because it’s still November as I’m writing this, and because there’s not much else to do in the winter time in Madison besides drink, and in some cases, drive your car out onto the iced-over lake—neither of which I’m particularly good at—I’m going to end with a list of books I hope to read before the year is over. All come highly recommended: The Golden State by Lydia Kiesling, Visible Empire by Hannah Pittard, America for Beginners by Leah Franqui, and The Fruit of the Drunken Tree by Ingrid Rojas Contreras.

More from A Year in Reading 2018

Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.

Don’t miss: A Year in Reading 2017201620152014201320122011201020092008200720062005

A Year in Reading: Crystal Hana Kim

It’s easy to feel defeated these days. It takes more effort and conscious positivity to focus on the future, on the historic firsts. We elected a record number of women to the House this year, including 29-year-old Alexandria Ocasio-Cortez. Ilhan Omar and Rashida Tlaib became the first Muslim women in Congress, while Sharice Davids and Deb Haaland became the first Native American Congresswomen. Florida elected their first openly lesbian mayor. There’s so much more. On a personal note, I teach high school students from across the United States. They all inspire me, but my female students in particular give me hope. From New York City to Detroit to Sioux Falls, they are canvassing, organizing community meetings and protests, creating change. I am flooded with strength as I look to the future.

So, in gazing forward while reflecting back on 2018, I want to highlight the women writers I’ve fallen in love with this year. I’ve read 35 books so far, and though some were written by men, we as a society need to #readmorewomen.

In poetry, Natalie Diaz’s When My Brother Was an Aztec and Erika L. Sánchez’s Lessons on Expulsion both consider addiction, family life, dreams, myth, and cultural history. These powerful poems dismantled and surprised me. Emily Jungmin Yoon’s debut collection, A Cruelty Special to Our Species, is stunning. Written in the voices of Korean “comfort women,” Yoon’s poems about sexual violence, gender, and oppression are brutal, incisive, and necessary.

My first novel was published in August, and with publication came an eventful book tour, which I’m profoundly grateful for. At the same time, book publication also brought the fear that I was speaking about myself, my writing process, and my novel too much. I found refuge in novels written by the wonderful writers I was lucky enough to do events with. I was drawn into the strange and magical What Should Be Wild by Julia Fine. In this dark, feminist novel a girl named Maisie has the power to kill and resurrect with her touch. I read What We Were Promised by Lucy Tan, The Incendiaries by R.O. Kwon, Number One Chinese Restaurant by Lillian Li, Fruit of the Drunken Tree by Ingrid Rojas Contreras, A River of Stars by Vanessa Hua, and The Golden State by Lydia Kiesling in a packed, whirlwind of knock-out debut fiction. I loved Naima Coster’s Halsey Street, which alternates between Penelope, a young woman who returns to a gentrified Brooklyn to care for her ailing father, and Mirella, Penelope’s estranged mother in the Dominican Republic. In Aja Gabel’s The Ensemble, four friends navigate their entwined careers, love lives, successes, and failures as a string quartet. Gabel’s descriptions of music, music-making, and auditory pleasure were absolutely beautiful.

Elsewhere in fiction, I read Jean Rhys’s Wide Sargasso Sea for the first time. What took me so long? I want to devour everything she’s written, and I want more books that reimagine our literary canon. I finished Jesmyn Ward’s Sing, Unburied, Sing while on a weekend break from book tour. It made me want to return to my writing desk immediately. Ward is a literary genius, and I will read everything she writes. In more recent fiction, Goodbye, Vitamin by Rachel Khong and You Too Can Have a Body Like Mine by Alexandra Kleeman both made me reconsider the body, food, consumption, and our desire to belong.

In nonfiction, Nicole Chung’s memoir All You Can Ever Know about the adopted author’s decision to find her biological family moved me with its honest portrayal of the fears we have about belonging, identity, and motherhood. I read Bluets by Maggie Nelson on a beach, staring at the blue of the ocean, the sky. One of my dearest girlfriends gifted me Kayleen Schaefer’s Text Me When You Get Home: The Evolution and Triumph of Modern Female Friendships, which reinvigorated me to reach out to all of my female friends, to strengthen those relationships even in adulthood.

I want to end with Deborah Eisenberg’s short story collection Your Duck Is My Duck because she is one of our best living writers. Her fiction precisely illuminates what it feels like to be alive, to wade through our world in its natural beauty and manmade devastation. Her writing is political and true, intimate and expansive.

I hope to read more in these last weeks before 2019 arrives. I’ve just started Hala Alyan’s Salt Houses. Toni Morrison’s Paradise awaits, as does Jenny Xie’s Eye Level. Diana Khoi Nguyen’s Ghost Of is on backorder at my local bookstore. There is so much more to read and so much more to hope for, and I am grateful.

More from A Year in Reading 2018

Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.

Don’t miss: A Year in Reading 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005

A Year in Reading: Bryan Washington

1.
This year, I read a lot on my phone. That’s a habit I’ve picked up from working gigs where you stand a bunch (watching kids on a swingset, watching adult children park their cars). Some folks don’t vibe with that, but those folks don’t pay my bills, and it meant I could read in doctor’s offices and train stations and airports and noodle bars and passenger seats. I read Alexia Arthurs’s How to Love a Jamaican, Elaine Castillo’s America Is Not the Heart, Nafissa Thompson-Spires’s Heads of the Colored People, Aja Gabel’s The Ensemble, Nik Sharma’s Season, Nicole Chung’s All You Can Ever Know, Tracy K. Smith’s Wade in the Water, R.O. Kwon’s The Incendiaries, Hieu Minh Nguyen’s Not Here, Fatimah Asghar’s If They Come For Us, Katie Williams’s Tell the Machine Goodnight, Sigrid Nunez’s The Friend, Okura’s That Blue Sky Feeling, Alejandro Zambra’s Not to Read, Allegra Hyde’s Of This New World, Hiromi Kawakami’s The Nakano Thrift Shop,  Anita Lo’s Solo, Kiese Laymon’s Heavy, and the re-issue of Naoki Urasawa’s 21st Century Boys.

At a few points this year, I got inexplicably sick. I had strange professional developments. I traveled and I mostly stopped smoking but I drank an aggressive amount of milk tea. I gained weight. I cried, for the first time in years, after hearing Frank Ocean’s “Moon River” cover, and then again, a few months later, over something else. I also succumbed to joy. And there was, I think, this year, a pervading numbness, which isn’t even a little bit unique, so I won’t riff too much on it, and reading definitely didn’t eliminate or even diminish that ennui, but still, books provided their own heft of equal or greater emotion, and that more or less countered the void.

So I read at crosswalks. I read at the auto shop.  I read in front of the cashier, waiting (praying) for my card to clear. I read Yemisi Aribisala’s Longthroat Memoirs and Jhumpa Lahiri’s In Other Words and all of the lyrics for Mitski’s “Be The Cowboy.” I mourned The Awl, for months, and read all of the remembrances. I read Jamel Brinkley’s A Lucky Man, Luís Urrea’s The House of Broken Angels, Ling Ma’s Severance, and Sayaka Murata’s Convenience Store Woman. I reread Haruki Murakami’s Sputnik Sweetheart, because I do that every year, and Valeria Luiselli’s Tell Me How It Ends, because I think I’ll start doing that every year. I reread Diego Zuñiga’s Camanchaca, Eugene Lim’s Dear Cyborgs, and all of Paul Asta’s poems. I read everything Jia Tolentino wrote, and I reread this essay by Anshuman Iddamsetty, and this one by Vinson Cunningham, and this story by Chris Gonzales, and this story by Sheung-King. I read Marjorie Liu and Sana Takeda’s Monstress, Lisa Halliday’s Asymmetry, Kate Gavino’s Sanpaku, Toshiki Okada’s The End of the Moment We Had, Tayari Jones’s An American Marriage, Gengoroh Tagame’s My Brother’s Husband, Chris Ying’s You and I Eat the Same, Yukiko Motoya’s The Lonesome Bodybuilder, Nana Kwame Adjei-Brenyah’s Friday Black, Sohui Kim’s Korean Home Cooking, Yoko Tawada’s The Emissary, and Pitchaya Sudbanthad’s Bangkok Wakes to Rain.

Every last one of those got to me. I’m surely forgetting others, but I loved them all the same. And their authors will never, ever, know how much it meant.

2.
But, honestly, the main thing that stuck with me in 2018 is having read prayers. Or hopes. Whatever. I spent a good while this year in Tokyo, sort of visiting friends and sort of researching a long thing and sort of fucking around and sort of clearing my head, and a thing I did often was ride the JR line to the Meiji Shrine. It’s in Shibuya, a short walk from Harajuku Station, by this big-ass Gap and an Adidas. In the afternoons, a guy played the Hang in front of the shrine’s arches. When you walked through the gravel, past the barrels of sake, after you’d stepped under the shrine’s pillars, you could sort of amble your way to the arches, and that’s where plenty of people, from all over, left notes on votive tablets beneath an overflowing tree:

I pray my boyfriend’s parents accept me

Hopefully she comes home this year

I pray that the new job brings in enough money for the operation

This year I hope that she finds peace

I pray that his death brings us together

Stuff like that. Deeply personal things, like you’d find in a diary or a post-it stack. Some had smiley faces and cartoons. Others were written in cursive. I spotted French and English and Hiragana and Hangul and Spanish and Chinese and Arabic, and they all hung together, tied to their altar with string, sort of shaking in the wind, and if you sneezed they’d shift a bit before settling back into place.

Most afternoons, I rode the train from my place to see them. It took about 20 minutes. This year began with the absence of hope, and every week that’s passed seems to have added to that refrain, but folks had still taken—had actually bought, with currency earned by their labor—these little hunks of wood, and then they’d written down their hopes and dreams and wants, despite everything. Despite the world. That’s a little radical, when you think about it. That’s a lot of beautiful, when you think about it.

And, in a lot of ways, I think the books I read in 2018 elicited a similar emotion. No one asks us to write. There’s no assurance that anyone will see what we put down. If your advance is big enough, or the publication is halfway decent at social media, or your publicity team is swift enough, or if you’re young and white and you catch a wave then maybe they will. But they probably won’t. And we hang these words up anyway, because we have to, and we hope that someone will see them, although most of us will never know if they do, so they’ll just carry them around in their heads, the same way we will, and that’s how we’ll build a life together, just tacking up prayers.

But anyway. I’ve thought of those notes often. I hope some of them came true.

More from A Year in Reading 2018

Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.

Don’t miss: A Year in Reading 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005

October Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Find more October titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments!
OCTOBER
Killing Commendatore by Haruki Murakami (translated by Philip Gabriel and Ted Goossen): Like many before me, I once fell into Murakami’s fictional world only to emerge six months later wondering what on earth happened. So any anticipation for his new books is tempered by caution. His new novel is about a freshly divorced painter who moves to the mountains, where he finds an eerie and powerful painting called “Killing Commendatore.” Mysteries proliferate, and you will keep reading—not because you are expecting resolution but because it’s Murakami, and you’re under his spell. (Hannah)

All You Can Ever Know by Nicole Chung: This book—the first by the former editor of the much-missed site The Toast—is garnering high praise from lots of great people, among them Alexander Chee, who wrote, “I’ve been waiting for this writer, and this book—and everything else she’ll write.” Born prematurely to Korean parents who had immigrated to America, the author was adopted by a white couple who raised her in rural Oregon, where she encountered bigotry her family couldn’t see. Chung grew curious about her past, which led her to seek out the truth of her origins and identity. (Thom)

Heavy by Kiese Laymon: Finally! This memoir has been mentioned as “forthcoming” at the end of every Kiese Laymon interview or magazine article for a few years, and I’ve been excited about it the entire time. Laymon has written one novel and one essay collection about America and race. This memoir focuses on Laymon’s own body—in the personal sense of how he treats it and lives in it, and in the larger sense of the heavy burden of a black body in America. (Janet)

Good and Mad: The Revolutionary Power of Women’s Anger by Rebecca Traister: What it says in the title, by one of the foremost contemporary chroniclers of the role(s) of women in American society. It feels as though the timing of this release could not be better (that is to say, worse). Read an interview with Traister here. (Lydia)  

 

Unsheltered by Barbara Kingsolver: The beloved novelist’s latest tells the story of Willa Knox, whose middle-class life has crumbled: The magazine she built her career around has folded, and the college where her husband had tenure has shut down. All she has is a very old house in need of serious repair. Out of desperation, she begins looking into her house’s history, hoping that she might be able to get some funding from the historical society. Through her research, she finds a kindred spirit in Thatcher Greenwood, who occupied the premises in 1871 and was an advocate of the work of Charles Darwin. Though they are separated by more than a century, Knox and Greenwood both know what it’s like to live through cultural upheaval. (Hannah)

Friday Black by Nana Kwame Adjei-Brenyah: In his debut short story collection, that garnered him the National Book Foundation’s “5 under 35” honor, Adjei-Brenyah writes about the injustice black people face every day in America. Tackling issues like criminal justice, consumerism, and racism, these timely stories are searching for humanity in a brutal world. The collection is both heartbreaking and hopeful, and George Saunders called it “an excitement and a wonder: strange, crazed, urgent and funny.” (Carolyn)

Things to Make and Break by May-Lan Tan: This debut collection of short fiction is the most recent collaboration between Coffee House Press and Emily Books. The 11 short stories argue that relationships between two people often contain a third presence, whether that means another person or a past or future self. Tan’s sensibility has been compared to that of Joy Williams, David Lynch, and Carmen Maria Machado. (Hannah)

 

Gone So Long by Andre Dubus III: Whether in his fiction (House of Sand and Fog) or his nonfiction (Townie), Dubus tells blistering stories about broken lives. In his new novel, Daniel Ahern “hasn’t seen his daughter in forty years, and there is so much to tell her, but why would she listen?” Susan, his daughter, has good reason to hate Daniel—his horrific act of violence ruined their family and poisoned her life. Dubus has the preternatural power to make every storyline feel mythic, and Gone So Long rides an inevitable charge of guilt, fear, and stubborn hope. “Even after we’re gone, what we’ve left behind lives on in some way,” Dubus writes—including who we’ve left behind. (Nick R.)

Little by Edward Carey: Set in a Revolutionary Paris, a tiny, strange-looking girl named Marie is born—and then orphaned. Carey blurs the lines between fact and fiction, and art and reality, in his fictionalized tale of the little girl who grew up to become Madame Tussaud. In a starred review, Publishers Weekly writes the novel’s “sumptuous turns of phrase, fashions a fantastical world that churns with vitality.” (Carolyn)

 

White Dancing Elephants by Chaya Bhuvaneswar: Drawing comparisons to Gabriel Garcia Marquez, Margaret Atwood, and Sandra Cisneros, Bhuvaneswar’s debut collection pulls together stories of diverse women of color as they face violence, whether it be sexual, racial, or self-inflicted. The Buddha also makes an appearance, as do Hindu myths, incurable diseases, and an android. No wonder Jeff VanderMeer calls White Dancing Elephants “often provocative” as well as bold, honest, and fresh. (Kaulie)

Impossible Owls by Brian Phillips: You know meritocratic capitalism is a lie because everyone who wrote during Holly Anderson’s tenure as editor of MTV News is not presently wealthy beyond imagination, but that’s beside the point. Better yet, let’s pour one out for Grantland. Better still, let’s focus on one truth. Brian Phillips’s essays are out of this world: big-hearted, exhaustive, unrelentingly curious, and goddamned fun. It’s about time he graced us with this collection. (Nick M.)

Scribe by Alyson Hagy: In a world devastated by a civil war and fevers, an unnamed protagonist uses her gift of writing to protect herself and her family’s old Appalachian farmhouse. When Hendricks, a mysterious man with a dark past, asks for a letter, the pair set off an unforeseen chain of events. Steeped in folklore and the supernatural, Kirkus’s starred review called it “a deft novel about the consequences and resilience of storytelling.” (Carolyn)


The Witch Elm by Tana French: For six novels now, French has taken readers inside the squabbling, backstabbing world of the (fictional) Dublin Murder Squad, with each successive book following a different detective working frantically to close a case. Now, in a twist, French has—temporarily, we hope—set aside the Murder Squad for a stand-alone book that follows the victim of a crime, a tall, handsome, faintly clueless public relations man named Toby who is nearly beaten to death when he surprises two burglars in his home. Early reviews online attest that French’s trademark immersive prose and incisive understanding of human psychology remain intact, but readers do seem to miss the Murder Squad. (Michael)
Hungry Ghost Theater by Sarah Stone: Siblings Robert and Julia Zamarin want to reveal the dangers of the world with their small political theater company while their neuroscientist sister Eva attempts to find the biological roots of empathy. While contending with fraught family dynamics, the novel touches on themes like art, free will, addiction, desire, and loss. Joan Silber writes she “found this an unforgettable book, astute, vivid, and stubbornly ambitious in its scope.” (Carolyn)

 

Love is Blind by William Boyd: In Boyd’s 15th novel, Brodie Moncur—a piano tuner with perfect pitch—flees his oppressive family in Scotland and travels across Europe. In the shadow of a (seemingly) doomed affair, the novel ruminates on the devastating power of passion, secrets, and deception. (Carolyn)

 

Famous Adopted People by Alice Stephens: Stephens’ debut novel follows Lisa, a 27-year-old adoptee, as she travels to South Korea to find her birth mother. Equally tense, tragic, and comedic, Publishers Weekly describes the novel as a “fun-house depiction of the absurdities and horrors of the surveillance state.”  (Carolyn)

 

Girls Write Now by Girls Write Now: Containing more than one hundred essays from young women in the Girls Write Now program, a writing and mentorship program in New York City. The anthology contains stories rife with angst, uncertainty, grief, hope, honesty, and joy, and advice on writing and life from powerhouses like Roxane Gay, Chimamanda Ngozi Adichie, and Zadie Smith. Kirkus calls the anthology  “an inspiring example of honest writing.”  (Carolyn)

 

A Dream Called Home by Reyna Grande: A former undocumented Mexican immigrant, Grande’s memoir explores to her journey from poverty to successful author—and the first of her family to graduate from college. Candid and heartfelt in exploring the difficulties of immigration and assimilation, Publishers Weekly’s starred review called the book  an “uplifting story of fortitude and resilience.” (Carolyn)

 

Well-Read Black Girl ed. Glory Edim: Glory Edim founded Well-Read Black Girl, a Brooklyn-based book club and an online space that highlights black literature and sisterhood, and last year she produced the inaugural Well-Read Black Girl Festival. Most recently, Edim curated the Well-Read Black Girl anthology, and contributors include Morgan Jerkins, Tayari Jones, Lynn Nottage, Gabourey Sidibe, Rebecca Walker, Jesmyn Ward, Jacqueline Woodson, and Barbara Smith. The collection of essays celebrates the power of representation, visibility, and storytelling. (Zoë)

What If This Were Enough? by Heather Havrilesky: Havrilesky’s, the acclaimed memoirist and columnist for The Cut’s “Ask Polly” advice column, newest collection addresses our culture’s obsession with self-improvement. Publishers Weekly’s starred review writes “it’s a message she relates with insight, wit, and terrific prose.” Tackling subjects like materialism, romance, and social media, she asks readers—who are constantly inundated with messages about productivity and betterment—to ask less of themselves, to realize that they (and their lives) are enough. (Carolyn)

 

Lucy Tan and Crystal Hana Kim Discuss Societal Roles, War, Secrets, and the Complications of Love

When I got my hands on an advanced reader’s edition of Crystal Hana Kim’s If You Leave Me a few months ago, I couldn’t believe my luck. With my own debut novel coming out this summer, I’d been following book coverage closely and making note of titles I wanted to read the most. If You Leave Me, out Aug. 7, was at the top of my list. Over the next few days, I became completely absorbed by the forbidden love story of Haemi and Kyunghwan, their complicated ties to Kyunghwan’s cousin, Jisoo, and a rich portrait of war-torn Korea. This is a novel of epic proportions whose tone shifts agilely over time, following the lives of its characters and the devastating consequences of war. It’s full of longing and hard truths, and when I finished it I was in solid agreement with the buzz surrounding If You Leave Me, naming Crystal Hana Kim as a talented writer to watch.

I was surprised to find that If You Leave Me shared some striking similarities with my own novel, What We Were Promised. Set in modern Shanghai, What We Were Promised is also a story of forbidden love, following the lives of three characters bound by family ties. Lina, Qiang, and Wei grow up together in a small, silk-producing village, only to be separated when Qiang disappears and Lina and Wei marry and move to the U.S. The novel opens when the couple is back in China and must face Qiang once again—as well as the reasons he left.

Though our novels are very different, both explore the impact of political history on its people, of money and power on individuals, and of the damaging effects of gender roles. It was startling, too, to see minor totems echoed in our novels—a bracelet, a scar on a loved one’s face—which further convinced me that If You Leave Me is the dark sister to What We Were Promised. I eagerly reached out to Crystal, and we became friends. It’s my pleasure to speak to her now about family influences, novel-writing, and the books we’re most excited to read this year. —Lucy Tan
Lucy Tan: Crystal, congratulations on the upcoming publication of If You Leave Me! I loved experiencing the world of 1950s-1960s Korea through the eyes of your three main characters—brilliant Kyunghwan, headstrong Jisoo, and the beautiful and fierce Haemi. They came to vivid life and grabbed me from the very beginning. I’d love to know a little bit more about the genesis of this story. I noticed that in the novel’s opening pages, the dedication is partly written in Korean. I’m going to be nosy and ask: What do they mean? Are there hidden inspirations there that you can share?

Crystal Hana Kim: The dedication that’s written in Korean says, “I lovingly dedicate this book to my mother and father.” Fittingly, my family was integral to this novel. Both my parents are Korean, and all four of my grandparents survived the Korean War. I’m particularly close to my maternal grandmother, who told me many stories about growing up during the war. As a teenager, she had to flee her home with her widowed mother, which was the genesis for Haemi’s story. I fictionalized Haemi’s life to explore questions I was interested in (of motherhood, gender roles, and how war scars a country and its people), but the seed of my novel is rooted in truth.

I’d love to hear about the genesis of your novel too! What We Were Promised centers on the Zhen family—Wei, Lina, Karen, and Qiang—as well as Sunny, their housekeeper. Though the novel dips into rural China in the 1980s, most of it takes place in Shanghai in 2010. I know you grew up in both New York and Shanghai, and I see that you also have a part of your dedication written in Chinese! Can you tell us about your personal connection to this setting? What inspired this story?

LT: In writing What We Were Promised, I drew heavily from my family’s experiences during and after the Cultural Revolution. The Chinese words in my dedication are the names of my parents and grandparents on both sides of the family. My parents were involved in this book in an even more direct way—they helped me set up interviews, read drafts, corrected my use of Chinese in the book, and more. I like to think of my novel as a family project.

My understanding of modern-day China comes from firsthand experience. I’ve been traveling to China since I was little, but during the two years I spent in Shanghai after graduating college, I finally felt connected to it in a way that I had before. It struck me as a city changing so quickly, both culturally and economically, and I knew I had to write about it one day. At the time, my parents and I lived in a serviced apartment that served as the basis for the fictional luxury hotel in my novel, Lanson Suites. It was there that I met many of the expats, ayis (nannies), and drivers that inspired several characters in the book.

It’s so interesting to hear you name the themes you were intentionally exploring when writing If You Leave Me. The word “scar” is often associated with stories about war, but few novels portray the physical and emotional traumas that come from gender roles and motherhood as things that can scar someone permanently. Haemi’s pain was so haunting to me, particularly because as we read, we see her change, slowly but surely, from a willful young woman to someone with fewer and fewer options. How much of this character development did you have in mind when you began writing? More generally speaking, what was the process of structuring your novel like? Did you have the ending in mind before you began, or did you trust that the story and characters would lead you somewhere satisfying?

CHK: As a woman, I’ve always been fascinated by societal expectations of gender roles. I grew up hearing my maternal grandmother’s stories about not being able to receive an education because she was a woman, and she very much felt that marriage was one of few options available to her for stability. I wanted to explore what a life like that would feel like, how it could wear you down over the years. I created Haemi Lee early on in the novel-writing process, but I had to write my way to an understanding of how she thought and approached the world. I knew I wanted Haemi to experience motherhood, and I had a sense of the ending, but I wrote my way through the middle, experimenting with different paths.

One of the many thematic similarities I found in our two books was of the “arranged” or “practical” marriage. In my book, Haemi faces a difficult choice regarding who she should marry. In your book, Lina knows from an early age that she is betrothed to Wei. For both our women, choices are taken away by family and societal expectations. Can you tell me about your novel-writing process? How did you come up with your characters and this premise?

LT: Lina and Haemi do wind up in similar predicaments even though they are such different characters! Lina is less independently minded than Haemi is, and it takes her a while to understand what she wants for her own life. Early on, she conflates her love for her parents with her desire to marry Wei. Arranged marriages were not the norm in the 1980s, but Lina is willing to marry the man her father has chosen for her because she trusts him and wants to make him happy. It’s only later, when she digs into the reasons her father has arranged this marriage in the first place, that she is forced to re-examine everything she knows about love. At its heart, What We Were Promised is about the different kinds of love a person can have for someone, and how that love can change and become complicated over a lifetime. But I didn’t start out wanting to write about love. I started with a single moment of conflict in mind: A bracelet goes missing from a serviced apartment, and a housekeeper is afraid of being accused by the tenants of having taken it. The entire novel grew out of that moment and what little I knew of the characters in that opening scene. For example, I knew something was off about the marriage between Lina and Wei, but I didn’t know much beyond that. I knew Sunny, the housekeeper, was wrapped up in the Zhens’ storyline, but I wasn’t sure how. I write much like I read, uncovering things as I go and following moments of tension until they reveal themselves fully.

Our novels are also similar in that they are told from multiple perspectives. Because my characters harbored private thoughts about each other that were important to the storyline, I knew from the start that the novel had to be written this way. And yet I was nervous about it, because there’s always the risk of the narrative becoming disjointed, or for the reader to fall in love with one character over the others and to become impatient to get back to their point of view. I think you pull off the perspective switching in If You Leave Me so well, but did you initially worry about the effects of multiple perspectives, as I did? Can you tell me a little more about your decision to write in the first person for each of these characters?

CHK: I’ve always been drawn to novels with multiple perspectives, so it was an easy choice for me. I knew I wanted Haemi to be the center of the story, but in order to understand her circumstances as well as the landscape of Korea during this particular time in history, I knew I also needed Jisoo, Kyunghwan, Hyunki, and Solee’s perspectives. I’ve always loved first-person narration because I think it helps readers emotionally connect to the characters. Also, I just really enjoy writing in first person!

It wasn’t until later, when I had a full draft, that I worried about the novel feeling disjointed or of the possibility that the reader would like one character over another. At that point, I had already committed to this structure, so I focused on making my characters as complex and real as possible so that readers would feel emotionally connected. My hope is that If You Leave Me pulls you in, that despite the great difference in time, place, and custom, you can understand what Haemi, Kyunghwan, Jisoo, and the rest of the characters are going through because the themes of love, motherhood, and trauma are universal.

I’d love to hear about your decision to use third-person to write from multiple perspectives. Did you decide on this early on in your process? Did you ever have some chapters in first person and some in third?

LT: I’m like you; I love the intimacy of first person, and it’s my favorite perspective to write from. This novel, though, had so much to do with the misconceptions characters have about one another, and the secrets they keep, that the reader must have a somewhat omniscient view of what’s going on for the novel to have forward momentum. During scenes where my characters are all in the same room, I wanted the flexibility to present actions and reactions that might convey more information to the reader than it might to any one character. I found it hard to manage this with first person. Close third gave me a little more flexibility.

CHK: You mentioned What We Were Promised started with the missing bracelet and the housekeeper who was afraid of being accused of theft. You also said earlier that you wanted to write about the social classes of this period in Shanghai. I think you do such an incredible job of revealing these class hierarchies without feeling didactic. You show the reader how different the lives of those who live in these luxury apartments and those who work them can be. What made you want to explore these class conflicts? Was it difficult balancing Sunny the housekeeper and Little Cao the driver’s stories with the Zhen family’s stories?

LT: One of the things that fascinated me about living in a luxury hotel was the way people of so many different backgrounds were forced to spend so much time together, often knowing nothing about one another. For instance, drivers spent most of their work days waiting outside fancy buildings for their wealthy bosses. They knew their employers’ schedules perfectly but rarely conversed with them. What did these drivers do while waiting? How did they feel about the people they drove around? What were their attitudes toward their jobs? These questions were fascinating to me, and I wanted to explore the motivations, misunderstandings and rebellions of people across different social classes sharing the same space. Balancing Sunny’s and Little Cao’s stories with the Zhens’ was challenging from a plot perspective because the overlap between the storylines wasn’t obvious. But being able to imagine my way into their heads felt like a relief because their concerns are so different from the concerns of Lina and Wei. By inhabiting their lives, I felt as though I was making the novel fuller.

CHK: I think you balance Sunny and Little Cao’s lives with the Zhens’ so well, Lucy! The novel definitely feels richer because of their voices. Let’s do one last question. What book are you looking forward to reading this year? I’m so excited for Nicole Chung’s memoir All You Can Ever Know and Lydia Kiesling’s novel The Golden State.

LT: Those are on my radar, too! I’m also looking forward to A River of Stars by Vanessa Hua, which I hear is one of the summer’s best literary page-turners, and The Death of Truth: Notes on Falsehood in the Age of Trump by Michiko Kakutani.

Most Anticipated: The Great Second-Half 2018 Book Preview

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Putting together our semi-annual Previews is a blessing and a curse. A blessing to be able to look six months into the future and see the avalanche of vital creative work coming our way; a curse because no one list can hope to be comprehensive, and no one person can hope to read all these damn books. We tried valiantly to keep it under 100, and this year, we just…couldn’t. But it’s a privilege to fail with such a good list: We’ve got new novels by Kate Atkinson, Dale Peck, Pat Barker, Haruki Murakami, Bernice McFadden, and Barbara Kingsolver. We’ve got a stunning array of debut novels, including one by our very own editor, Lydia Kiesling—not to mention R.O. Kwon, Ingrid Rojas Contreras, Crystal Hana Kim, Lucy Tan, Vanessa Hua, Wayétu Moore, and Olivia Laing. We’ve got long-awaited memoirs by Kiese Laymon and Nicole Chung. Works of nonfiction by Michiko Kakutani and Jonathan Franzen. The year has been bad, but the books will be good. (And if you don’t see a title here, look out for our monthly Previews.)

As always, you can help ensure that these previews, and all our great books coverage, continue for years to come by lending your support to the site as a member. (As a thank you for their generosity, our members now get a monthly email newsletter brimming with book recommendations from our illustrious staffers.) The Millions has been running for nearly 15 years on a wing and a prayer, and we’re incredibly grateful for the love of our recurring readers and current members who help us sustain the work that we do.
JULY
The Incendiaries by R.O. Kwon: In her debut novel, Kwon investigates faith and identity as well as love and loss. Celeste Ng writes, “The Incendiaries probes the seductive and dangerous places to which we drift when loss unmoors us. In dazzlingly acrobatic prose, R.O. Kwon explores the lines between faith and fanaticism, passion and violence, the rational and the unknowable.” The Incendiaries is an American Booksellers Association Indies Introduce pick, and The New York Times recently profiled Kwon as a summer writer to watch. (Zoë)

My Year of Rest and Relaxation by Ottessa Moshfegh: Booker finalist Ottessa Moshfegh’s latest book is (as fans of hers can probably guess) both funny and deeply tender, a testament to the author’s keen eye for the sad and the weird. In it, a young woman starts a regiment of “narcotic hibernation,” prescribed to her by a psychiatrist as demented as psychiatrists come. Eventually, her drug use leads to a spate of bad side effects, which kick off a spiral of increasingly dysfunctional behavior. (Thom)

Fruit of the Drunken Tree by Ingrid Rojas Contreras: Against the backdrop of political disarray and vicious violence driven by Pablo Escobar’s drug empire, sisters Chula and Cassandra live safely in a gated Bogotá community. But when a woman from the city’s working-class slums named Petrona becomes their live-in maid, the city’s chaos penetrates the family’s comfort. Soon, Chula and Petrona’s lives are hopelessly entangled amidst devastating violence. Bay Area author Ingrid Rojas Contreras brings us this excellent and timely debut novel about the particular pressures that war exerts on the women caught up in its wake. (Ismail)

A Carnival of Losses by Donald Hall: Hall, a former United States poet laureate, earnestly began writing prose while teaching at the University of Michigan during the 1950s. Failed stories and novels during his teenage years had soured him on the genre, but then he longed to write “reminiscent, descriptive” nonfiction “by trying and failing and trying again.” Hall’s been prolific ever since, and Carnival of Losses will publish a month after his passing. Gems here include an elegy written nearly 22 years after the death of his wife, the poet Jane Kenyon. “In the months and years after her death, Jane’s voice and mine rose as one, spiraling together the images and diphthongs of the dead who were once the living, our necropoetics of grief and love in the singular absence of flesh.” For a skilled essayist, the past is always present. This book is a fitting final gift. (Nick R.)

What We Were Promised by Lucy Tan: Set in China’s metropolis Shanghai, the story is about a new rich Chinese family returning to their native land after fulfilling the American Dream. Their previous city and country have transformed as much as themselves, as have their counterparts in China. For those who want to take a look at the many contrasts and complexities in contemporary China, Tan’s work provides a valuable perspective. (Jianan)

An Ocean of Minutes by Thea Lim: In Lim’s debut novel, the world has been devastated by a flu pandemic and time travel is possible. Frank and Polly, a young couple, are learning to live in their new world—until Frank gets sick. In order to save his life, Polly travels to the future for TimeRaiser—a company set on rebuilding the world—with a plan to meet Frank there. When something in their plan goes wrong, the two try to find each other across decades. From a starred Publishers Weekly review: “Lim’s enthralling novel succeeds on every level: as a love story, an imaginative thriller, and a dystopian narrative.” (Carolyn)

How to Love a Jamaican by Alexia Arthurs: Last year, Alexia Arthurs won the Plimpton Prize for her story “Bad Behavior,” which appeared in The Paris Review’s summer issue in 2016. How to Love a Jamaican, her first book, includes that story along with several others, two of which were published originally in Vice and Granta. Readers looking for a recommendation can take one from Zadie Smith, who praised the collection as “sharp and kind, bitter and sweet.” (Thom)

Give Me Your Hand by Megan Abbott: Megan Abbott is blowing up. EW just asked if she was Hollywood’s next big novelist, due to the number of adaptations of her work currently in production, but she’s been steadily writing award-winning books for a decade. Her genre might be described as the female friendship thriller, and her latest is about two high school friends who later become rivals in the scientific academic community. Rivalries never end well in Abbott’s world. (Janet)

The Seas by Samantha Hunt: Sailors, seas, love, hauntings—in The Seas, soon to be reissued by Tin House, Samantha Hunt’s fiction sees the world through a scrim of wonder and curiosity, whether it’s investigating mothering (as in “A Love Story”), reimagining the late days of doddering Nikolai Tesla at the New Yorker Hotel (“The Invention of Everything Else”), or in an ill-fated love story between a young girl and a 30-something Iraq War Veteran. Dave Eggers has called The Seas “One of the most distinctive and unforgettable voices I’ve read in years. The book will linger…in your head for a good long time.” (Anne)

The Occasional Virgin by Hanan al-Shaykh: Novelist and playwright Hanan al-Shaykh’s latest novel concerns two 30-something friends, Huda and Yvonne, who grew up together in Lebanon (the former Muslim, the latter Christian) and who now, according to the jacket copy, “find themselves torn between the traditional worlds they were born into and the successful professional identities they’ve created.” Alberto Manguel calls it “A modern Jane Austen comedy, wise, witty and unexpectedly profound.” I’m seduced by the title alone. (Edan)

The Marvellous Equations of the Dread by Marcia Douglas: In this massively creative work of musical magical realism, Bob Marley has been reincarnated as Fall-down and haunts a clocktower built on the site of a hanging tree in Kingston. Recognized only by a former lover, he visits with King Edward VII, Marcus Garvey, and Haile Selassie. Time isn’t quite what it usually is, either—years fly by every time Fall-down returns to his tower, and his story follows 300 years of violence and myth. But the true innovation here is in the musicality of the prose: Subtitled “A Novel in Bass Riddim,” Marvellous Equations of the Dread draws from—and continues—a long Caribbean musical tradition. (Kaulie)

The Death of Truth by Michiko Kakutani: Kakutani is best-known as the long-reigning—and frequently eviscerating—chief book critic at The New York Times, a job she left last year in order to write this book. In The Death of Truth, she considers our troubling era of alternative facts and traces the trends that have brought us to this horrific moment where the very concept of “objective reality” provokes a certain nostalgia. “Trump did not spring out of nowhere,” she told Vanity Fair in a recent interview, “and I was struck by how prescient writers like Alexis de Tocqueville and George Orwell and Hannah Arendt were about how those in power get to define what the truth is.” (Emily)

Immigrant, Montana by Amitava Kumar: Kumar, author of multiple works of fiction, nonfiction, and poetry, returns with a novel about Kailash, a young immigrant from India, coming of age and searching for love in the United States. Publishers Weekly notes (in a starred review) that “this coming-of-age-in-the-city story is bolstered by the author’s captivating prose, which keeps it consistently surprising and hilarious.” (Emily)

Brother by David Chariandy: A tightly constructed and powerful novel that tells the story of two brothers in a housing complex in a Toronto suburb during the simmering summer of 1991. Michael and Francis balance hope against the danger of having it as they struggle against prejudice and low expectations. This is set against the tense events of a fateful night. When the novel came out in Canada last year, it won the Rogers Writers’ Trust Fiction Prize and was declared one of the best of the year by many. Marlon James calls Brother “a brilliant, powerful elegy from a living brother to a lost one.” (Claire)

A Terrible Country by Keith Gessen: Familial devotion, academic glory, and the need for some space to think have combined to send Andrei back to Moscow some 20 years after his family had emigrated to America. The trip should stir up some academic fodder for his ailing career, and besides, his aging baba Seva could really use the help. For her part, baba Seva never wavers in her assessment of Andrei’s attempt to make a go of it in 200-aughtish Russia: “This is a terrible country,” she tells him. Repeatedly. Perhaps he should have listened. This faux memoir is journalist and historian Keith Gessen’s second novel and an essential addition to the “Before You Go to Russia, Read…” list. (Il’ja)

The Lost Country by William Gay: After Little Sister Death, Gay’s 2015 novel that slipped just over the border from Southern gothic into horror, longtime fans of his dark realism (where the real is ever imbued with the fantastic) will be grateful to indie publisher Dzanc Books for one more posthumous novel from the author. Protagonist Billy Edgewater returns to eastern Tennessee after two years in the Navy to see his dying father. Per Kirkus, the picaresque journey takes us through “italicized flashbacks, stream-of-consciousness interludes, infidelities, prison breaks, murderous revenge, biblical language, and a deep kinship between the land and its inhabitants,” and of course, there’s also a one-armed con man named Roosterfish, who brings humor into Gay’s bleak (drunken, violent) and yet still mystical world of mid-1950s rural Tennessee. (Sonya)

Comemadre by Roque Larraquy (translated by Heather Cleary): A fin de siècle Beunos Aires doctor probes a little too closely when examining the threshold between life and death. A 21st-century artist discovers the ultimate in transcendence and turns himself into an objet d’art. In this dark, dense, surprisingly short debut novel by the Argentinian author, we’re confronted with enough grotesqueries to fill a couple Terry Gilliam films and, more importantly, with the idea that the only real monsters are those that are formed out of our own ambition. (Il’ja)

Now My Heart Is Full by Laura June: “It was my mother I thought of as I looked down at my new daughter,” writes Laura June in her debut memoir about how motherhood has forced her to face, reconcile, and even reassess her relationship with her late mother, who was an alcoholic. Roxane Gay calls it “warm and moving,” and Alana Massey writes, “Laura June triumphs by resisting the inertia of inherited suffering and surrendering to the possibility of a boundless, unbreakable love.” Fans of Laura June’s parenting essays on The Cut will definitely want to check this one out. (Edan) 

OK, Mr. Field by Katherine Kilalea: In this debut novel, a concert pianist (the eponymous Mr. Field) spends his payout from a train accident on a replica of Le Corbusier’s Villa Savoye. And then his wife vanishes. In a starred review, Publishers Weekly called the book “a striking, singular debut” and “a disorienting and enthralling descent into one man’s peculiar malaise.” You can whet your appetite with this excerpt in The Paris Review. Kilalea, who is from South Africa and now lives in London, is also the author of the poetry collection One Eye’d Leigh. (Edan)

Nevada Days by Bernardo Atxaga (translated by Margaret Jull Costa): Though it’s difficult to write a truly new European travelogue, the Basque writer Bernardo Atxaga seems to have found a way. After spurning Harvard—who tried to recruit him to be an author in residence—Atxaga took an offer to spend nine months at the Center for Basque Studies at the University of Nevada, Reno, which led to this book about his tenure in the Silver State during the run-up to Obama’s election. Though it’s largely a fictionalized account, the book contains passages and stories the author overheard. (Thom)

Interior by Thomas Clerc (translated by Jeffrey Zuckerman): Give it to Thomas Clerc: The French writer isn’t misleading his readers with the title of this book. At heart, Interior is a tour of the author’s apartment, animated with a comic level of detail and consideration. Every object and appliance gets a history, and the author gives opinions on things like bathroom reading material. Like Samuel Beckett’s fiction, Interior comes alive through its narrator, whose quirkiness helps shepherd the reader through a landscape of tedium. (Thom)

Eden by Andrea Kleine: Hope and her sister, Eden, were abducted as children, lured into a van by a man they thought was their father’s friend; 20 years later, Hope’s life as a New York playwright is crumbling when she hears their abductor is up for parole. Eden’s story could keep him locked away, but nobody knows where she is, so Hope takes off to look for her, charting a cross-country path in a run-down RV. The author of Calf, Kleine is no stranger to violence, and Eden is a hard, sometimes frightening look at the way trauma follows us. (Kaulie)

Unclean Jobs for Women and Girls by Alissa Nutting: The latest collection from one of America’s most audaciously interesting writers follows her last two novels, in which she inverted the Lolita story and satirized Silicon Valley, respectively. Somewhere in between, she also wrote about her love of hot dogs. Oh, and this collection’s title is clearly a nod to Lucia Berlin. Let’s be real for a minute: If you need more than that to buy this book, you’re not my friend, you’ve got bad taste, and you should keep scrolling. (Nick M.)

Suicide Club by Rachel Heng: What if we could live forever? Or: When is life no longer, you know, life? Heng’s debut novel, set in a futuristic New York where the healthy have a shot at immortality, probes those questions artfully but directly. Lea Kirino trades organs on the New York Stock Exchange and might never die, but when she runs into her long-disappeared father and meets the other members of his Suicide Club, she begins to wonder what life will cost her. Part critique of the American cult of wellness, part glittering future with a nightmare undercurrent, Suicide Club is nothing if not deeply imaginative and timely. (Kaulie)

The Samurai by Shusaku Endo (translated by Van C. Gessel): In early 17th-century Japan, four low-ranking samurai and a Jesuit priest set off for la Nueva España (Mexico) on a trade mission. What could go wrong? The question of whether there can ever be substantive interplay between the core traditions of the West and the Far East—or whether the dynamic is somehow doomed, organically, to the superficial—is a recurring motif in Endo’s work much as it was in his life. Endo’s Catholic faith lent a peculiar depth to his writing that’s neither parochial nor proselytizing but typically, as in this New Directions reprint, thick with adventure. (Il’ja)

If You See Me, Don’t Say Hi by Neel Patel: The characters in these 11 stories, nearly all of whom are first-generation Indian immigrants, are gay and straight, highly successful and totally lost, meekly traditional and boldly transgressive, but as they navigate a familiar contemporary landscape of suburban malls and social media stalking, they come off as deeply—and compellingly—American. (Michael)

 

Homeplace by John Lingan: Maybe it’s true that a dive bar shouldn’t have a website, but probably that notion gets thrown out the window when the bar’s longtime owner gave Patsy Cline her first break. In the same way, throw out your notions of what a hyper-localized examination of a small-town bar can be. In Lingan’s hands, the Troubadour explodes like a shattered glass, shards shot beyond Virginia, revealing something about ourselves—all of us—if we can catch the right glints in the pieces. (Nick M.)

Early Work by Andrew Martin: In this debut, a writer named Peter Cunningham slowly becomes aware that he’s not the novelist he wants to be. He walks his dog, writes every day, and teaches at a woman’s prison, but he still feels directionless, especially in comparison to his medical student girlfriend. When he meets a woman who’s separated from her fiance, he starts to learn that inspiration is always complex. (Thom)
AUGUST
A River of Stars by Vanessa Hua: A factory worker named Scarlett Chen is having an affair with Yeung—her boss—when her life is suddenly turned upside down. After she becomes pregnant with Yeung’s son, Scarlett is sent to a secret maternity home in Los Angeles so that the child will be born with the privileges of American citizenship. Distressed at her isolation, Scarlett flees to San Francisco’s Chinatown with a teenage stowaway named Daisy. Together, they disappear into a community of immigrants that remains hidden to most Americans. While they strive for their version of the American dream, Yeung will do anything to secure his son’s future. In a time when immigration policy has returned to the center of our national politics, Bay Area author Vanessa Hua delivers a book that explores the motivations, fears, and aspirations that drive people to migrate. (Ismail)

Flights by Olga Tokarczuk (translated by Jennifer Croft): The 116 vignettes that make up this collection have been called digressive, discursive, and speculative. My adjectives: disarming and wonderfully encouraging. Whether telling the story of the trip that brought Chopin’s heart back to Warsaw or of a euthanasia pact between two sweethearts, Croft’s translation from Polish is light as a feather yet captures well the economy and depth of Tokarczuk’s deceptively simple style. A welcome reminder of how love drives out fear and also a worthy Man Booker International winner for 2018. (Il’ja)

If You Leave Me by Crystal Hana Kim: Kim, a Columbia MFA graduate and contributing editor of Apogee Journal, is drawing rave advance praise for her debut novel. If You Leave Me is a family saga and romance set during the Korean War and its aftermath. Though a historical drama, its concerns—including mental illness and refugee life—could not be more timely. (Adam)

 

Praise Song for the Butterflies by Bernice McFadden: On the heels of her American Book Award- and NAACP Image Award-winning novel The Book of Harlan, McFadden’s 10th novel, Praise Song for the Butterflies, gives us the story of Abeo, a privileged 9-year-old girl in West Africa who is sacrificed by her family into a brutal life of ritual servitude to atone for the father’s sins. Fifteen years later, Abeo is freed and must learn how to heal and live again. A difficult story that, according to Kirkus, McFadden takes on with “riveting prose” that “keeps the reader turning pages.” (Sonya)

The Third Hotel by Laura Van Den Berg: When Clare arrives in Havana, she is surprised to find her husband, Richard, standing in a white linen suit outside a museum (surprised, because she thought Richard was dead). The search for answers sends Clare on a surreal journey; the distinctions between reality and fantasy blur. Her role in Richard’s death and reappearance comes to light in the streets of Havana, her memories of her marriage, and her childhood in Florida. Lauren Groff praises the novel as “artfully fractured, slim and singular.” (Claire)

Severance by Ling Ma: In this funny, frightening, and touching debut, office drone Candace is one of only a few New Yorkers to survive a plague that’s leveled the city. She joins a group, led by IT guru Bob, in search of the Facility, where they can start society anew. Ling Ma manages the impressive trick of delivering a bildungsroman, a survival tale, and satire of late capitalist millennial angst in one book, and Severance announces its author as a supremely talented writer to watch. (Adam)

Night Soil by Dale Peck: Author and critic Dale Peck has made a career out of telling stories about growing up queer; with Night Soil, he might have finally hit upon his most interesting and well-executed iteration of that story since his 1993 debut. The novel follows Judas Stammers, an eloquently foul-mouthed and compulsively horny heir to a Southern mining fortune, and his mother Dixie, a reclusive artist famous for making technically perfect pots. Living in the shadow of the Academy that their ancestor Marcus Stammers founded in order to educate—and exploit—his former slaves, Judas and Dixie must confront the history of their family’s complicity in slavery and environmental degradation. This is a hilarious, thought-provoking, and lush novel about art’s entanglement with America’s original sin. (Ismail)

Summer by Karl Ove Knausgaard: After the success of his six-part autofiction project My Struggle, Norwegian author Karl Knausgaard embarked on a new project: a quartet of memoiristic reflections on the seasons. Knausgaard wraps up the quartet with Summer, an intensely observed meditation on the Swedish countryside that the author has made a home in with his family. (Ismail)

 

Ohio by Stephen Markley: Ohio is an ambitious novel composed of the stories of four residents of New Canaan, Ohio, narratively unified by the death of their mutual friend in Iraq. Markley writes movingly about his characters, about the wastelands of the industrial Midwest, about small towns with economic and cultural vacuums filled by opioids, Donald Trump, and anti-immigrant hatred. This is the kind of book people rarely attempt to write any more, a Big American Novel that seeks to tell us where we live now. (Adam)

French Exit by Patrick deWitt: In this new novel by Patrick deWitt, bestselling author of The Sisters Brothers and Undermajordomo Minor, a widow and her son try to escape their problems (scandal, financial ruin, etc.) by fleeing to Paris. Kirkus Reviews calls it “a bright, original yarn with a surprising twist,” and Maria Semple says it’s her favorite deWitt novel yet, its dialogue “dizzyingly good.” According to Andrew Sean Greer the novel is “brilliant, addictive, funny and wise.” (Edan)

Notes from the Fog by Ben Marcus: If you’ve read Marcus before, you know what you’re in for: a set of bizarre stories that are simultaneously terrifying and hysterical, fantastical and discomfortingly realistic. For example, in “The Grow-Light Blues,” which appeared in The New Yorker a few years back, a corporate employee tests a new nutrition supplement—the light from his computer screen. The results are not pleasant. With plots that seem like those of Black Mirror, Marcus presents dystopian futures that are all the more frightening because they seem possible. (Ismail)

The Reservoir Tapes by Jon McGregor: In the follow-up to his Costa Award-winning novel Reservoir 13, McGregor’s newest book focuses on the crime at the center of its predecessor: the disappearance of 13-year-old Becky Shaw. After Becky goes missing, an interviewer comes to town to collect stories from the villagers. Over the course of the book, the community reveals what happened (or what may have happened) in the days and weeks before the incident. In its starred review, Kirkus called the novel a “noteworthy event” that, when put in conversation with Reservoir 13, is “nothing short of a remarkable experiment in storytelling.” (Carolyn)

Heartbreaker by Claudia Dey: Called “a dark star of a book, glittering with mordant humor and astonishing, seductive strangeness and grace” by Lauren Groff, this is the story of Pony Darlene Fontaine. She lives in “the territory,” a sinister town run on a scarce economic resource. One night, Pony’s mother, Billie Jean, bolts barefoot into cold of the wider world—a place where the townspeople have never been. Told from the perspectives of Pony, a dog, and a teenage boy, this book shows the magic of Dey’s imagination. Publishers Weekly gave it a starred review, calling it a “word-for-word triumph.” (Claire)

Before She Sleeps by Bina Shah: Every news event, policy decision, and cultural moment now draws parallels to Margaret Atwood’s The Handmaid’s Tale. “It’s Gilead, we’re in Gilead,” Twitter tells us, “Nolite te bastardes carborundorum.” But Shah’s novel is both explicitly connected to Atwood’s marvel and working to expand it by imagining what a secular, Middle Eastern Gilead might look like. In a near future, war and disease have wiped out the women of what is currently Pakistan and Iran, and those who survived are now the forced breeders of a dystopian society. But there’s resistance, secrets, and risk; the result, Kirkus writes, is a kind of spy-genre-cum-soap-opera update on a modern classic. (Kaulie)

Boom Town by Sam Anderson: The decorated journalist Sam Anderson, a staff writer at The New York Times Magazine, has set out to fill a yawning gap in the American popular imagination: our tendency to ignore the nation’s 27th-largest metropolis, Oklahoma City. Anderson’s rollicking narrative is woven from two threads—the vicissitudes of the city’s NBA team, the Oklahoma City Thunder, and the city’s boom-and-bust history of colorful characters, vicious weather, boosterism, and bloodshed, including, of course, the 1995 terrorist bombing of the federal building that left 168 dead. Everything about Anderson’s OK City is outsize, including the self-delusions. Its Will Rogers World Airport, for instance, doesn’t have any international flights. Anderson runs wild with this material. (Bill) 

Pretty Things by Virginie Despentes (translated by Emma Ramadan): French feminist author and filmmaker Virginie Despentes’s King Kong Theory used her experience of rape, prostitution, and work in the porn industry to explode myths of sex, gender, and beauty, and it subsequently gained a cult following among English-language readers when first published in 2010. She’s since broken through to a wider audience with Volume 1 of her Vernon Subutex trilogy, just shortlisted for the Man Booker International Prize. While we’re waiting on the second volume of Subutex in the States, Feminist Press brings us Despentes’ Pretty Things, “a mean little book, wickedly funny, totally lascivious, often pornographic,” according to Kirkus, and just one of the many reasons Lauren Elkin has called Despentes “a feminist Zola for the twenty-first century.” (Anne)

Attention: Dispatches from a Land of Distraction by Joshua Cohen: Book of Numbers, Cohen’s tome about a tech titan leading us out of the pre-internet wilderness with his search engine, contains aphoristic observations on technology: “Our access is bewildering, not just beyond imagination but becoming imagination, and so bewildering twice over. We can only search the found, find the searched, and charge it to our room.” Now comes a nonfiction book about life in the digital age. The wide-ranging collection has political profiles, book reviews, and idiosyncratic journal entries: “Hat Lessons Gleaned from Attending a Film Noir Marathon with a Nonagenarian Ex-Milliner Who Never Stops Talking.” (Matt)

Open Me by Lisa Locascio: If you’re looking for a sexy and smart summer read, look no further. In this erotic coming-of-age story, Lisa Locascio explores the female body, politics, and desire. Aimee Bender writes that this debut novel is “a kind of love letter to the female body and all its power and visceral complexity. This is a story of many important layers, but one of the many reasons it remains distinct in my mind is because of its honesty about our complicated, yearning physical selves.” (Zoë)

Housegirl by Michael Donkor: In this debut novel, Donkor follows three Ghanaian girls: Belinda, the obedient; Mary, the irrepressible; and Amma, the rebel. For her part, Amma has had about enough of the tight-laced life in London that her parents want for her and begins to balk at the strictures of British life. But when she is brought to London to provide a proper in-house example for willful Amma, sensible Belinda begins to experience a cultural dissociation that threatens her sense of self as nothing before ever had. (Il’ja)
SEPTEMBER
Transcription by Kate Atkinson: As a fangirl of both the virtuosic Life After Life and of her Jackson Brody detective novels, I barely need to see a review to get excited about a new Atkinson novel—especially a period novel about a female spy, recruited by MI5 at age 18 to monitor fascist sympathizers. Nonetheless, here’s some love from Booklist (starred review): “This is a wonderful novel about making choices, failing to make them, and living, with some degree of grace, the lives our choices determine for us.” (Sonya)

The Golden State by Lydia Kiesling: File The Golden State under “most most-anticipated” as it’s the first novel of The Millions’ own brilliant and beloved Lydia Kiesling, who has has been wielding her pen and editorial prowess on this site for many a year. Two months pre-pub, The Golden State is already off to the races with a nomination for the Center for Fiction’s First Novel Prize and a starred review from Publisher’s Weekly, stating, “Kiesling depicts parenting in the digital age with humor and brutal honesty and offers insights into language, academics, and even the United Nations.” Kiesling herself has written that “great writing is bracing, and makes you feel like making something of your own, either another piece of writing, or a joyful noise unto the Lord.” The Golden State promises just that. (Anne)

She Would Be King by Wayétu Moore: It’s the early years of Liberia, and three strangers with nothing in common help smooth the way for the nation. Gbessa is a West African exile who survives certain death; June Dey is running from a Virginia plantation; Norman Aragon, the son of a colonizer and a slave, can disappear at will. Their story stands at the meeting point of the diaspora, history, and magical realism, and Edwidge Danticat calls the novel “beautiful and magical.” (Kaulie)

The Silence of the Girls by Pat Barker: Barker is best known for her fantastic World War I Regeneration trilogy, including The Ghost Road, winner of the 1995 Booker Prize. The Silence of the Girls sees Barker casting her historical imagination back further, to Ancient Greece and the Trojan War. Captured by Achilles, Briseis goes from queen to concubine, from ruler to subject—in this retelling of The Iliad, Barker reclaims Briseis as a protagonist, giving authorial voice to her and the other women who have long existed only as powerless subjects in a male epic. (Adam)

The Wildlands by Abby Geni: Geni’s last novel, The Lightkeepers, was a thriller set on an isolated island that was also somehow a meditation on appreciating nature, and it blew me away. Her new novel similarly combines the natural world with manmade terror. It follows four young siblings who are orphaned by an Oklahoma tornado and the ensuing national media attention that pushes their relationships to the edge. (Janet)

Washington Black by Esi Edugyan: Edugyan’s last novel, Half-Blood Blues, won the Scotiabank Giller Prize and was a finalist for the Man Booker. Attica Locke calls this one “nothing short of a masterpiece.” When Wash, an 11-year-old enslaved in Barbados, is chosen as a manservant, he is terrified. The chooser, Christopher Wilde, however, turns out to be a naturalist, explorer, and abolitionist. But soon Wash and Christopher find themselves having to escape to save their lives. Their run takes them from the frozen North to London and Morocco. It’s all based on a famous 19th-century criminal case. (Claire)

Crudo by Olivia Laing: Olivia Laing, known for her chronicles of urban loneliness and writers’ attraction to drink as well as critical writing on art and literature, jumps genres with her first novel, Crudo. It’s a spitfire of a story with a fervent narrator and a twist: The book is written in the voice of punk feminist author Kathy Acker performed in mash-up with Laing’s own, as she considers marriage (with equivocation) and the absurdity of current events circa 2017. Suzanne Moore at The Guardian says, “Here [Laing] asks how we might not disappear…She reaches out for something extraordinary. Crudo is a hot, hot book.” (Anne)

Lake Success by Gary Shteyngart: Set during the lead-up to the 2016 presidential election, Shteyngart’s novel begins with a bloodied, hungover, Fitzgerald-loving hedge fund manager—his company is called “This Side of Capital”—waiting for a bus in Manhattan’s Port Authority. A disastrous dinner party the night before has pushed him over the edge, leading to his impulsive decision to flee the city, his business woes, and his wife and autistic toddler to track down an old girlfriend. Like Salman Rushdie in The Golden House, Shteyngart turns his satiric eye on a gilded family in disarray. (Matt)

The Shape of Ruins by Juan Gabriel Vasquez (translated by Anne McLean): In this, his sixth novel in English translation, Colombian writer Juan Gabriel Vasquez plays mischief with history, a string of murders, and the conspiracy theories that commonly arise alongside. Add a storyline carried by a duet of narrators—one with a healthy dollop of paranoia, the other with a fixation for real crime so engrossing he’s turned his home into a kind of museum of crime noir—and you’ve got a gripping read and a solid reflection on the appeal of conspiracy. (Il’ja)

The Deeper the Water the Uglier the Fish by Katya Apekina: Edie finds her mother Marianne in the living room only just surviving a suicide attempt, while her sister Mae is upstairs in a trance. Marianne is committed to a mental hospital, and the sisters are sent to live with their father, far from their native Louisiana. But as they spend more time with their father, the girls grow further apart, torn by their deep loyalty to opposite parents and their own grief and confusion. Apekina’s debut novel plays with tricky family relationships and the way fact and fantasy, loyalty and obsession, can be so difficult to tease apart. (Kaulie)

After the Winter by Guadalupe Nettel (translated by Rosalind Harvey): A story about love and consciousness that takes place in Havana, Paris, and New York, by the Mexican author who Katie Kitamura called “a brilliant anatomist of love and perversity…each new book is a revelation.” (Lydia)

 

Ordinary People by Diana Evans: The third novel from Evans, the inaugural winner of the Orange Prize for New Writers, Ordinary People follows two troubled couples as they make their way through life in London. The backdrop: Obama’s 2008 election. The trouble: Living your 30s is hard, parenthood is harder, and relationships to people and places change, often more than we’d like them to. But Evans is as sharply funny—in clear-eyed, exacting fashion—as she is sad, and Ordinary People cuts close to the quick of, well, ordinary people. (Kaulie)

Heartland: A Memoir of Working Hard and Being Broke by Sarah Smarsh: An uncomfortable reality of contemporary American society, one of many, is that where social mobility is concerned, the so-called American Dream is best achieved in Denmark. If you’re born into poverty here, in other words, hard work won’t necessarily pull you out. In Heartland, Smarsh blends memoir—she comes from a long line of teen mothers and was raised primarily by her grandmother on a farm near Wichita—with analysis and social commentary to offer a nuanced exploration of the impact of generational poverty and a look at the lives of poor and working-class Americans. (Emily)

The Caregiver by Samuel Park: Park’s third novel takes place in Rio de Janeiro and California. Mara is an immigrant whose beloved mother Ana, a voice-over actress, was involved with a civilian rebel group in Rio. In California as an adult now, Mara works as a caregiver to a young woman with stomach cancer and grapples with her mother’s complicated, enigmatic past. Shortly after finishing the novel in 2017, Park himself died of stomach cancer at age 41. (Sonya)

The Order of the Day by Eric Vuillard: Winning France’s prestigious Prix Goncourt doesn’t guarantee an English translation, but as Garth Risk Hallberg showed in a piece about international prize winners, it helps. Recent translated winners include Mathias Énard’s Compass and Leïla Slimani’s The Perfect Nanny, and the latest is Eric Vuillard’s The Order of the Day, a historical novel about the rise of Nazism, corporate complicity, and Germany’s annexation of Austria in 1938. Discussing his fictionalized account, Vuillard, who also wrote a novel about Buffalo Bill Cody, told The New York Times that “there is no such thing as neutral history.” (Matt)

Your Duck Is My Duck by Deborah Eisenberg: This new collection is the famed short story writer’s first book since 2006, and advance word says it lives up to the best of her work. Over the course of six lengthy, morally complicated stories, the author showcases her trademark wit and sensitivity, exploring such matters as books that expose one’s own past and the trials of finding yourself infatuated with a human rights worker. (Thom) 

Ponti by Sharlene Teo: Set in Singapore in the 1990s, Teo’s debut, which won the inaugural Deborah Rogers award in the U.K. and was subsequently the subject of a bidding war, describes a twisted friendship between two teenage girls. In a starred review, Publishers Weekly calls it “relatable yet unsettling.” (Lydia)

 

Waiting for Eden by Elliot Ackerman: Eden Malcom, a deeply wounded soldier coming back from the Iraq war, lies unconscious in a bed. The story is narrated by a ghost, Eden’s friend and fellow soldier whom he has lost in the foreign land. Through numerous shattering moments in the book, Ackerman pushes the readers to explore eternal human problems such as the meaning of life, marriage, love and betrayal. (Jianan)

 

Boomer1 by Daniel Torday: Daniel Torday follows his acclaimed debut, The Last Flight of Poxl West, with a second novel that carries a menacing subtitle: Retire or We’ll Retire You. It’s apt because this is the story of a millennial loser named Mark Brumfeld, a bluegrass musician, former journalist, and current grad student whose punk bassist girlfriend rejects his marriage proposal, driving him out of New York and back to his parents’ basement in suburban Baltimore. There, under the titular handle of Boomer1, he starts posting online critiques of baby boomers that go viral. Intergenerational warfare—what a smart lens for looking at the way we live today. (Bill)

River by Esther Kinsky (translated by Iain Galbraith): One of the unsung attractions of London is the transitional areas at the edges, where city meets country meets industry meets waterfowl meets isolated immigrant laborer. A book in which scarcely anything ever happens, River is, however, filled with life. Resolute in her take on the terrain as the outsider looking in, Kinsky skillfully chronicles the importance in our lives of the homely, the unobserved and the irrepressibly present. A book for those who would gladly reread W.G. Sebald but wish he had written about people more often. (Il’ja)

The Real Lolita by Sarah Weinman: Sarah Weinman uncovers that Sally Horner, an 11-year-old girl who was kidnapped in 1948, was the inspiration for Vladimir Nabokov’s Lolita. Through her thorough research, Weinman learns that Nabokov knew much about Horner’s case and made efforts to disguise this fact. Megan Abbott writes that The Real Lolita “offers both nuanced and compassionate true-crime reportage and revelatory cultural and literary history. It will, quite simply, change the way you think about Lolita and ‘Lolitas’ forever.” (Zoë)

The Personality Brokers by Merve Emre: The Myers-Briggs personality test is the most popular test of its kind in the world, and affects life in ways large and small–from the hiring and career development practices of Fortune 500 companies, to time-wasting Facebook tests to, amazingly, people’s Twitter bios. (I’m allegedly an ENFP, incidentally.) As it happens, the test was contrived by a team of mother-daughter novelists with a Jung obsession. Scholar and trenchant literary critic Emre uses archival research to tell this story, revealing the fictions woven into a supposedly “scientific” instrument. (Lydia)


OCTOBER
Killing Commendatore by Haruki Murakami (translated by Philip Gabriel and Ted Goossen): Like many before me, I once fell into Murakami’s fictional world only to emerge six months later wondering what on earth happened. So any anticipation for his new books is tempered by caution. His new novel is about a freshly divorced painter who moves to the mountains, where he finds an eerie and powerful painting called “Killing Commendatore.” Mysteries proliferate, and you will keep reading—not because you are expecting resolution but because it’s Murakami, and you’re under his spell. (Hannah)

All You Can Ever Know by Nicole Chung: This book—the first by the former editor of the much-missed site The Toast—is garnering high praise from lots of great people, among them Alexander Chee, who wrote, “I’ve been waiting for this writer, and this book—and everything else she’ll write.” Born prematurely to Korean parents who had immigrated to America, the author was adopted by a white couple who raised her in rural Oregon, where she encountered bigotry her family couldn’t see. Eventually, Chung grew curious about her past, which led her to seek out the truth of her origins and identity. (Thom)

Heavy by Kiese Laymon: Finally! This memoir has been mentioned as “forthcoming” at the end of every Kiese Laymon interview or magazine article for a few years, and I’ve been excited about it the entire time. Laymon has written one novel and one essay collection about America and race. This memoir focuses on Laymon’s own body—in the personal sense of how he treats it and lives in it, and in the larger sense of the heavy burden of a black body in America. (Janet)

Almost Everything by Anne Lamott: Perhaps unsurprisingly, the author of Bird by Bird has some fascinating thoughts about hope and its role in our lives. In Almost Everything, Anne Lamott recounts her own struggles with despair, admitting that at her lowest she “stockpiled antibiotics for the Apocalypse.” From that point on, she discovered her own strength, and her journey forms the basis of this thoughtful and innovative work. (Thom)

Unsheltered by Barbara Kingsolver: The beloved novelist’s latest tells the story of Willa Knox, whose middle-class life has crumbled: The magazine she built her career around has folded, and the college where her husband had tenure has shut down. All she has is a very old house in need of serious repair. Out of desperation, she begins looking into her house’s history, hoping that she might be able to get some funding from the historical society. Through her research, she finds a kindred spirit in Thatcher Greenwood, who occupied the premises in 1871 and was an advocate of the work of Charles Darwin. Though they are separated by more than a century, Knox and Greenwood both know what it’s like to live through cultural upheaval. (Hannah)

Friday Black by Nana Kwame Adjei-Brenyah: In his debut short story collection, Adjei-Brenyah writes about the injustice black people face every day in America. Tackling issues like criminal justice, consumerism, and racism, these timely stories are searching for humanity in a brutal world. The collection is both heartbreaking and hopeful, and George Saunders called it “an excitement and a wonder: strange, crazed, urgent and funny.” (Carolyn)

Things to Make and Break by May-Lan Tan: This debut collection of short fiction is the most recent collaboration between Coffee House Press and Emily Books. The 11 short stories argue that relationships between two people often contain a third presence, whether that means another person or a past or future self. Tan’s sensibility has been compared to that of Joy Williams, David Lynch, and Carmen Maria Machado. (Hannah)

Gone So Long by Andre Dubus III: Whether in his fiction (House of Sand and Fog) or his nonfiction (Townie), Dubus tells blistering stories about broken lives. In his new novel, Daniel Ahern “hasn’t seen his daughter in forty years, and there is so much to tell her, but why would she listen?” Susan, his daughter, has good reason to hate Daniel—his horrific act of violence ruined their family and poisoned her life. Dubus has the preternatural power to make every storyline feel mythic, and Gone So Long rides an inevitable charge of guilt, fear, and stubborn hope. “Even after we’re gone, what we’ve left behind lives on in some way,” Dubus writes—including who we’ve left behind. (Nick R.)

Retablos: Stories from a Life Lived Along the Border by Octavio Solis: A memoir about growing up a mile from the Rio Grande, told in vignettes, or retablos, showing the small and large moments that take place along the U.S. border. Julia Alvarez says of the book, “Unpretentiously and with an unerring accuracy of tone and rhythm, Solis slowly builds what amounts to a storybook cathedral. We inhabit a border world rich in characters, lush with details, playful and poignant, a border that refutes the stereotypes and divisions smaller minds create. Solis reminds us that sometimes the most profound truths are best told with crafted fictions—and he is a master at it.” (Lydia)

Family Trust by Kathy Wang: Acclaimed by Cristina Alger as “a brilliant mashup of The Nest and Crazy Rich Asians,” the book deals with many hidden family tensions ignited by the approaching of the death of Stanley Huang, the father of the family. Family Trust brings the readers to rethink the ambitions behind the bloom of Silicon Valley and what families really mean. (Jianan)

 

Anniversaries by Uwe Johnson (translated by Damion Searls): At 1,800 pages, the two-volume set of Uwe Johnson’s 1968 classic—and first complete publication of the book in English—isn’t going to do your TBR pile any favors. The NYRB release follows, in detail, the New York lives of German emigres Gesine Cresspahl and her daughter Marie as they come to terms with the heritage of the Germany they escaped and with an American existence that, in 1968, begins to resonate with challenges not dissimilar to those they left behind. A Searls translation portends a rewarding reading experience despite the volumes’ length. (Il’ja)

White Dancing Elephants by Chaya Bhuvaneswar: Drawing comparisons to Gabriel Garcia Marquez, Margaret Atwood, and Sandra Cisneros, Bhuvaneswar’s debut collection pulls together stories of diverse women of color as they face violence, whether it be sexual, racial, or self-inflicted. The Buddha also makes an appearance, as do Hindu myths, incurable diseases, and an android. No wonder Jeff VanderMeer calls White Dancing Elephants “often provocative” as well as bold, honest, and fresh. (Kaulie)

Impossible Owls by Brian Phillips: You know meritocratic capitalism is a lie because everyone who wrote during Holly Anderson’s tenure as editor of MTV News is not presently wealthy beyond imagination, but that’s beside the point. Better yet, let’s pour one out for Grantland. Better still, let’s focus on one truth. Brian Phillips’s essays are out of this world: big-hearted, exhaustive, unrelentingly curious, and goddamned fun. It’s about time he graced us with this collection. (Nick M.)

The Souls of Yellow Folk by Wesley Yang: For the title of his debut collection of essays on race, gender, and American society, Wesley Yang invokes W.E.B. Du Bois’s 1903 classic study of race in America. These 13 essays, some of which appeared previously in New York magazine, The New York Times Magazine, and n+1, explore the ways in which the American dream shapes and distorts an assortment of people: chefs, strivers, pickup artists, and school shooters. Included here is “Paper Tigers,” Yang’s personal, National Magazine Award-winning look at Asian-American overachievers. As Yang’s avid followers already know, his laser scrutiny spares no one—not even Yang himself. (Bill)


The Witch Elm by Tana French: For six novels now, French has taken readers inside the squabbling, backstabbing world of the (fictional) Dublin Murder Squad, with each successive book following a different detective working frantically to close a case. Now, in a twist, French has—temporarily, we hope—set aside the Murder Squad for a stand-alone book that follows the victim of a crime, a tall, handsome, faintly clueless public relations man named Toby who is nearly beaten to death when he surprises two burglars in his home. Early reviews online attest that French’s trademark immersive prose and incisive understanding of human psychology remain intact, but readers do seem to miss the Murder Squad. (Michael)
There Will Be No Miracles Here by Casey Gerald: Casey Gerald fulfilled the American dream and is here to call bullshit. He grew up in Dallas with a sometimes absent mother and was recruited to play football for Yale. As he came to inhabit the rarefied air of Yale, Harvard, and Wall Street, he recognized the false myths that hold up those institutions and how their perpetuation affects those striving to get in. (Janet)

 

Training School for Negro Girls by Camille Acker: Camille Acker spins her debut story collection around a pair of linked premises: that respectability does not equal freedom and that the acclaim of others is a tinny substitute for one’s own sense of self. Set mostly in Washington, D.C., these stories give us a millennial who fights gentrification—until she learns that she’s part of the problem; a schoolteacher who dreams of a better city and winds up taking out her frustrations on her students; and a young piano player who wins a competition—and discovers that the prize is worthless. A timely, welcome book. (Bill)

The Taiga Syndrome by Cristina Rivera Garza (translated by Suzanne Jill Levine and Aviva Kana): Marguerite Duras, Clarice Lispector, Juan Rulfo—comparisons to each have been made with regard to Cristina Rivera Garza’s novels, which are uncanny and unique, often exploring and crossing and investigating borders, including but not limited to “geopolitical borders and conceptual borders, borders of gender and genre, borders between life and death.” Rivera Garza has spent her life crossing borders, too. Born in Mexico, she lived between San Diego and Tijuana for a long while, and she now directs the first bilingual creative writing Ph.D. program at the University of Houston. The Taiga Syndrome is Rivera Garza’s second novel to be translated to English, a book which Daniel Borzutzky likens to “Apocalypse Now fused with the worlds of Clarice Lispector and Jorge Luis Borges.” Yowza. (Anne)

Well-Read Black Girl ed. Glory Edim: Glory Edim founded Well-Read Black Girl, a Brooklyn-based book club and an online space that highlights black literature and sisterhood, and last year she produced the inaugural Well-Read Black Girl Festival. Most recently, Edim curated the Well-Read Black Girl anthology, and contributors include Morgan Jerkins, Tayari Jones, Lynn Nottage, Gabourey Sidibe, Rebecca Walker, Jesmyn Ward, Jacqueline Woodson, and Barbara Smith. The collection of essays celebrates the power of representation, visibility, and storytelling. (Zoë) 

Samuel Johnson’s Eternal Return by Martin Riker: Martin Riker has exquisite taste in books. He’s proven this again and again as publisher of Dorothy and former editor for Dalkey Archive, and as a critic and champion of literature in translation, innovative writing, and authors who take risks—which is why the debut of Riker’s first novel, Samuel Johnson’s Eternal Return, is so thrilling for us bookish types. The titular Samuel Johnson is not that Samuel Johnson but a Samuel Johnson who comes of age in mid-20th-century America who is killed and whose consciousness then migrates from body to body to inevitably inhabit many lives in what Joshua Cohen calls “a masterpiece of metempsychosis.” (Anne)
NOVEMBER
All the Lives We Never Lived by Anuradha Roy: This is Roy’s latest offering after a powerful showing in Sleeping on Jupiter, which was longlisted for the Man Booker prize in 2015. This novel centers around Myshkin, a boy whose life is changed when his mother elopes—no, vanishes—with a German man who appears naked at a river near their house one day and insists he has come for her after first meeting her in Bali. The novel follows the anamnesis of what happened, and his ruminations on its effect on his life. Already published in Britain, the novel has been called “elegiac,” compelling, and powerful, among other things. Conceived during a time Roy spent in Bali—at a festival where I had the pleasure of meeting her in 2015—this is an affecting novel. Readers should look for a conversation between Roy and me on this site around publication date. (Chigozie)

Evening in Paradise by Lucia Berlin: Can you remember a better short story collection in recent years than Berlin’s A Manual for Cleaning Women? I can’t. Maybe once a week I think about that dentist, ripping his own teeth out in front of his granddaughter. Now, Berlin’s estate is back with even more stories, this time all previously uncompiled. In the case of a less talented writer, I’d be worried about publishers scraping the barrel. But with Berlin, there are surely unplucked molars. (Nick M.) 

The End of the End of the Earth by Jonathan Franzen: Today Franzen is best known as a novelist—even the “Great American Novelist”—but it’s worth noting that he first appeared on many readers’ radar with his 1996 Harper’s essay “Perchance to Dream” about the difficulties of writing fiction in an age of images. Franzen’s essays, like his novels, can be a mixed bag, but he is a man perennially interested in interesting things that others overlook, such as, in this book, the global devastation of seabirds by predators and climate change. (Michael)

Tell Them of Battles, Kings, and Elephants by Mathias Énard (translated by Charlotte Mandell): From the author of the brilliant, Prix Goncourt-winning Compass, a work of historical fiction that follows Michelangelo to the Ottoman Empire, where he is considering a commission from the Sultan to build a bridge across the Golden Horn. The novel promises to continue Énard’s deep, humanistic explorations of the historical and ongoing connections between Europe and Asia, Islamdom and Christendom. (Lydia)

My Sister, the Serial Killer by Oyinkan Braithwaite: As the title makes clear, the Nigerian writer Oyinkan Braithwaite’s first novel is a dark comedy of sibling rivalry. The beautiful Ayoola leads a charmed life, and thanks to the cleanup efforts of her older sister, Korede, she suffers no repercussions from killing a string of boyfriends. Korede’s loyalty is tested, however, when a man close to her heart asks out her sister. Film producers are already getting in on the fun, as Working Title has optioned what the publisher calls a “hand grenade of a novel.” (Matt)

Those Who Knew by Idra Novey: Following up her debut novel, Ways to Disappear, Novey’s latest tells the story of a woman who suspects a senator’s hand in the death of a young woman on an unnamed island. The great Rebecca Traister says the book “speaks with uncommon prescience to the swirl around us. Novey writes, with acuity and depth, about questions of silence, power, and complicity. The universe she has created is imagined, and all too real.” (Lydia)

The April 3rd Incident by Yu Hua (translated by Allan H. Barr): A collection of his best early stories from a pioneer in China’s 1980 avant-garde literary movement, renowned for approaching realist subject matters through unconventional techniques. In his writings, reality is punctured and estranged, leading up to a new look at things familiar. Yu Hua is one of the best acclaimed contemporary Chinese authors. His previous works include China in Ten WordsBrothers, and the stunning To Live. (Jianan)


The Feral Detective by Jonathan Lethem: Charles Heist lives in a trailer in the desert outside L.A. and keeps his pet opossum in a desk drawer. Phoebe Siegler is a sarcastic motormouth looking for a friend’s missing daughter. Together, they explore California’s sun-blasted Inland Empire, searching for the girl among warring encampments of hippies and vagabonds living off the grid. In other words, we’re in Lethemland, where characters have implausible last names, genre tropes are turned inside out, and no detective is complete without a pet opossum.
Insurrecto by Gina Apostol: A story that takes across time and place in the Philippines, from the American occupation to the Duterte era, by the winner of the PEN Open Book Award for Gun Dealer’s Daughter. (Don’t miss Apostol’s astute essay in the Los Angeles Review of Books on Francine Prose and textual appropriation.) (Lydia)

 

Hardly Children by Laura Adamcyzk: Chicago-based author Laura Adamcyzk’s bold and observant debut story collection, Hardly Children, teems with wry wit as it explores memory and family and uncovers the unexpected in the everyday. Her stories often involve family, interrelations within, and their disintegration, such as in “Girls,” which won the Dzanc Books/Disquiet Prize. Other stories are pithy and razor sharp, such as “Gun Control,” which invents many permutations of Chekhov’s Gun (i.e., a gun in act one must go off by act three), and in doing so reflects the degree to which Adamcyzk considers the architecture of her stories, which often shift in striking ways. (Anne)

The Lonesome Bodybuilder by Yukiko Motoya (translated by Asa Yoneda): This is the English-language debut from a Japanese writer whose work has already been translated worldwide. The short stories in this collection are a mix of the fantastical and the painfully real. The title story is about a woman who makes radical changes to her appearance through bodybuilding, yet her husband doesn’t even notice. Other mysterious premises include a saleswoman whose client won’t come out of a dressing room, a newlywed couple who begin to resemble each other, and umbrellas that have magical properties. (Hannah)

The Patch by John McPhee: McPhee’s seventh collection of essays is finely curated, as expected for an essayist who lives and breathes structure. Essays on the sporting life fill the first part; the second includes shorter, previously uncollected pieces. The collection’s titular essay is an elegiac classic, which begins with the pursuit of chain pickerel in New Hampshire but soon becomes an essay about his dying father. McPhee flawlessly moves from gravity to levity, as in his writing about the Hershey chocolate factory. Such pieces are tastes of his willingness to let the world around him just be and to marvel at mysteries of all variety: “Pools and pools and pools of chocolate—fifty-thousand-pound, ninety-thousand-pound, Olympic-length pools of chocolate—in the conching rooms…Slip a little spatula in there and see how it tastes. Waxy? Claggy? Gritty? Mild? Taste it soft. That is the way to get the flavor.” One wishes John McPhee would write about everything, his words an introduction to all of life’s flavors. (Nick R.)

The Best Bad Things by Katrina Carrasco: A gender-bending historical detective story involving the opium trade and the Pinkerton Detective Agency in the Pacific Northwest. (Lydia)

 

 

Useful Phrases for Immigrants by May-lee Chai: Winner of the Doris Bakwin Award selected by Tayari Jones, Chai’s collection comprises eight stories detailing life in a globalized world. Edward P. Jones called Useful Phrases “a splendid gem of a story collection…Complementing the vivid characters, the reader has the gift of language―‘a wind so treacherous it had its own name,’ ‘summer days stretched taffy slow’….Chai’s work is a grand event.” (Lydia)
DECEMBER
North of Dawn by Nuruddin Farah: Farah has been writing about the world’s greatest catastrophes for years, and his novels, especially Hiding in Plain Sight, have been about the tragedy that accompanies the loss of one’s original country. That strong theme is the centrifugal force of this novel about a calm home engulfed when a son leaves quiet and peaceful Oslo to die back in Somalia. His widow and children return to Norway to live with his parents, and in bringing their devoted religiosity with them, threaten to explode the family once again. Farah is a master of shifts and turns, so this novel promises to be among the year’s most exciting publications. (Chigozie)

Revolution Sunday by Wendy Guerra (translated by Achy Obejas): Translated for the first time into English, internationally bestselling novelist Guerra’s book follows a writer from Cuba to Spain, where her expat compatriots assume she is a spy for Castro. Back home in Cuba, she is treated with equal suspicion by her government. (Lydia)

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