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A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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Three Must-Read Novels About Artists
This summer, I published The Blue Period, a novel that follows a young Pablo Picasso from humble beginnings in Spain to turn-of-the-century forays in Paris, where the budding painter sought to define an identity apart from the pressure of his father—also an artist—until tragedy struck. It was during Picasso’s resulting bout with depression in his late teens and early 20s that he set out to render society’s forgotten souls in nocturnal shades, leaving us with such lonely and moving canvases as The Old Guitarist, The Tragedy, Femme aux Bras Croisés, La Soupe and La Vie. While this story arc doesn’t cover all of the prolific but controversial figure’s long life or many ups and downs—he died in 1973 at 91 years old—it explores how early setbacks and trauma paved the way for a post-adolescent outpouring of creativity and empathy, before Cubism catapulted Picasso to almost inconceivable fame.
Much to my delight, it turned out the book I’d been laboring on for years joined a bumper crop of künstlerroman that debuted around the same time. German lends us this mouthful of a word for an “artist’s novel.” Works in this tradition include not only stories of painters, sculptors and photographers, but also ones about writers, dancers, and musicians. Irving Stone’s The Agony and the Ecstasy, Willa Cather’s The Song of the Lark and Richard Wright’s Black Boy are classics. Like other coming-of-age tales, this type of narrative—they may be fiction, nonfiction, or a hybrid—typically begins with the protagonist’s youth, but then künstlerromane go on to detail the experiences that molded their subjects into artists. These books have helped show the world the many paths to creativity, while often adding context to well-known artists’ lives. Art affects us deeply, and we want to understand how its practitioners learned to wield such an enormous power to make us feel.
Below are a few highlights from the new arrivals in this intriguing genre:
Life of David Hockney by Catherine Cusset (translated by Teresa Fagan)
At a recent event in New York, Catherine Cusset explained to her audience how in her native France the divide between what constitutes a novel and what can be considered biography is much less stark than in the United Sates. By presenting Life of David Hockney as a third-person omniscient narrative, which shares with readers the deepest thoughts and feelings of a famous living artist—even though she’d never spoken with him before publication—the author demonstrates just how unfettered she is by rigid categories. The result is an inviting and entertaining portrait that reveals how a working-class boy from Yorkshire, born on the eve of the Second World War, defied art’s trend toward abstraction to make figurative works that would help reinvigorate painting and command astronomical prices. Cusset’s brisk, engaging novel manages to leave readers with a sense that they know Hockney more intimately than if they’d try to plow through an art history tome.
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Basquiat: A Graphic Novel by Paolo Parisi
In vividly drawn panels of red, electric yellow, green, and indigo, Paolo Parisi’s Basquiat makes striking use of the graphic novel medium to immerse readers in the story of how a young graffiti artist from Brooklyn emerged to become one of the rising stars of the 1980s art scene. With searing images and sharp captions that give life to Jean-Michel Basquiat’s frenetic drug-fueled creativity, keen sense of irony, and celebrity flare, the author chronicles how the artist parlayed attention-grabbing spray-paint designs clandestinely placed all over downtown New York into a perch beside Andy Warhol, Barbara Kruger, and Keith Haring as a media sensation and moneymaker in the city’s top galleries. Sadly, as the book’s first pages remind us, this climb came to a bitter end with Basquiat’s overdose at the age of 27. The graphic format lends itself to showing how characters are seen and the way they perceive their surroundings. And Parisi succeeds in providing readers with insights into who Basquiat was as a young man, while also granting us the sensation of inhabiting a place and time that was bright and loud and birthed a legend.
Fake Like Me by Barbara Bourland
A piercing psychological thriller that skewers the self-absorbed, money-driven bubble that contemporary art and criticism can sometimes turn into, Barbara Bourland’s Fake Like Me is a rare masterpiece. Whether readers are pigment-smeared grads of the academy or have never picked up a palette knife, it’s easy to become engrossed in the author’s descriptions of the artistic process, while also admiring such damning reflections on the commodification of creativity, even as the captivating plot grows more gnarled. This first-person novel follows a fictional young artist who has seized a measure of success in a New York art scene that too frequently gives a cold shoulder to both women and realistic painters. After catastrophe strikes, however, she is forced to rapidly remake many of her works under impossible conditions. Near the end of her rope, she wangles a workspace in a rarefied, avant-garde artists’ colony upstate, only to inhabit the same eerie studio as Carey Logan, the trailblazing sculptor whom the narrator idolized. Layered, complicated, big, bold, and disturbing, like the large-scale oil paintings that are the unnamed protagonist’s medium, Bourland has written a one-of-a-kind, modern-day künstlerroman that deserves a place among the genre’s all-time best.
Image credit: Unsplash/RhondaK.
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Stop Hating on Adjectives!
A common admonition in recent creative writing pedagogy is, “Cut as many adjectives as possible.” I would like to propose that this rule springs from mere prejudice. There’s nothing inherently wrong with adjectives; they’re just out of fashion. In fact (and in fiction), they can be used, in surprising abundance, to good, even brilliant effect.
Today’s writers, I guess, consider themselves superior to, say, Charles Dickens. And Mark Twain. And Henry James. Not to mention James Joyce and Leo Tolstoy. Let’s take a look, shall we, at cold hard evidence.
Twain’s writing was sometimes spare in terms of adjectives, but other times richly spiced, as in this excerpt from Life on the Mississippi.
I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the sombre shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun.
Okay, you say, handing out the tired old adage about one robin not making a spring. You’re not convinced. Let’s turn to Dickens and the powerful adjectives in this excerpt from Hard Times (or would it be better as, simply, Times?).
It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness.
I think I see adjectives. But two examples make a paltry coincidence, you say. Objection sustained. Here’s the reasonably prestigious Henry James in A Small Boy and Others:
I turn around again to where I last left myself gaping at the old rickety bill-board in Fifth Avenue; and am almost as sharply aware as ever of the main source of its spell, the fact that it most often blazed with the rich appeal of Mr. Barnum, whose "lecture room," attached to the Great American Museum, overflowed into posters of all the theatrical bravery disavowed by its title. It was my rueful theory of those days -- though tasteful I may call it too as well as rueful -- that on all the holidays on which we weren't dragged to the dentist's we attended as a matter of course at Barnum's, that is when we were so happy as to be able to; which, to my own particular consciousness, wasn't every time the case. The case was too often, to my melancholy view, that W. J., quite regularly, on the non-dental Saturdays, repaired to this seat of joy with the easy Albert -- he at home there and master of the scene to a degree at which, somehow, neither of us could at the best arrive...
Let’s move on to a short story, “The Raid,” by Tolstoy, sometimes considered a decent writer:
The battalion was about five hundred yards ahead of us and looked like a black, dense, oscillating mass. It was possible to guess that this was an infantry battalion only because, like long densely packed needles, the bayonets were visible...The sun was not yet visible, but the crest of the right side of the ravine had begun to be lit up.The grey and whitish rock, the yellowish green moss, the dew covered bushes of Christ's Thorn, dogberry, and dwarf elm appeared extraordinarily distinct and salient in the golden morning light, but the other side and the valley, wrapped in thick mist which floated in uneven layers ,were damp and gloomy and presented an indefinite mingling of colors: pale purple, almost black, dark green, and white.
“Needless decoration,” you say. “Who cares about colors?” Let’s look at James Joyce, then, regarded in some circles as a fairly proficient writer, and his story, which you may have heard of, “The Dead.”
The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself, which these dead had one time reared and lived in, was dissolving and dwindling.
“Okay, but those are all men, old dead men,” you object.
I hear you. I hear you, loud and clear. Bring on the women—both the living and the dead. Herewith Jane Austen’s Emma:
Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period.
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I guess we’d be better off if Emma just had a home and disposition. You aren’t satisfied. You aren’t happy. You have strong objections: “She may be a woman, but she’s old.” All right then, we’ll turn then to Annie Proulx, who is, to the best of my knowledge, still living. Let’s examine That Old Ace in the Hole (should we delete “Old”?) which was published in 2002.
In late March Bob Dollar, a young, curly-headed man of twenty-five with the broad face of a cat, pale innocent eyes fringed with sooty lashes, drove east along Texas State Highway 15 in the panhandle, down from Denver the day before, over the Raton Pass and through the dead volcano country of northeast New Mexico to the Oklahoma pistol barrel, then a wrong turn north and wasted hours before he regained the way. It was a roaring spring morning with green in the sky, the air spiced with sand sagebrush and aromatic sumac. NPR faded from the radio in a string of announcements of corporate supporters, replaced by a Christian station that alternated pabulum preaching and punchy music. He switched to shit-kicker airwaves and listened to songs about staying home, going home, being home and the errors of leaving home.
Some, it seems, prefer eyes that are fringed with lashes rather than sooty lashes. I don’t get it, but you be you. Let’s shift gears and turn our attention to Richard Wright’s generally well-regarded memoir, Black Boy. Wright’s work begins thus:
One winter morning in the long-ago, four-year-old days of my life I found myself standing before a fireplace, warming my hands over a mound of glowing coals, listening to the wind whistle past the house outside. All morning my mother had been scolding me, telling me to keep still, warning me that I must make no noise. And I was angry, fretful, and impatient.
Or maybe Wright wasn’t any of those adjectives; maybe he just was.
“Very good,” you say, “but what about authors outside of North America and Europe? Do they use adjectives?” (A deafening yes! Whoops, I mean just yes.) Let’s see if Gabriel Garcia Marquez fits the bill. One Hundred Years of Solitude is regarded by some as an acceptable piece of literature.
At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point. Every year during the month of March a family of ragged gypsies would set up their tents near the village, and with a great uproar of pipes and kettledrums they would display new inventions. First they brought the magnet. A heavy gypsy with an untamed beard and sparrow hands, who introduced himself as Melquíades, put on a bold public demonstration of what he himself called the eighth wonder of the learned alchemists of Macedonia.
It seems Garcia Marquez is guilty of adjective use in at least the second degree. How sad. How unfortunate. Turning to Japan, Kenzaburo Oe’s work won a Nobel Prize. But perhaps the committee in Sweden was lazy or busy and overlooked the shockingly excessive adjectives in this problematic excerpt from Prize Stock:
My brother and I ran over to the blacksmith’s shed in the shade of the lush nettle tree. In the darkness inside, the charcoal fire on the dirt floor spit no tongues of red flame, the bellows did not hiss, the blacksmith lifted no red-hot steel with his lean, sun-blackened arms. Morning and the blacksmith not in his shop – we had never known this to happen. Arm in arm, my brother and I walked back along the cobblestone road in silence. The village was empty of adults. The women were probably waiting at the back of their dark houses. Only the children were drowning in the flood of sunlight. My chest tightened with anxiety.
Harelip spotted us from where he was sprawled at the stone steps that descended to the village fountain and came running over, arms waving. He was working hard at being important, spraying fine white bubbles of sticky saliva from the split in his lip.
“Well, he may be a living writer, but he’ still pretty old,” you grumble.
With astonishing patience, I bring forth my final sample, Zadie Smith’s White Teeth (Just Teeth would be better?). She’s alive, modern, young, possibly even cutting-edge.
Archie was too far gone to make a big noise about it, but he watched them with a warm internal smile as they deposited their load, streaking white walls purple. He watched them stretch their peering bird heads over the Hussein-Ishmael gutter; he watched them watch the slow and steady draining of blood from the dead things - chickens, cows, sheep - hanging on their hooks like coats around the shop. The Unlucky. These pigeons had an instinct for the Unlucky, and so they passed Archie by. For, though he did not know it, and despite the Hoover tube that lay on the passenger seat pumping from the exhaust pipe into his lungs, luck was with him that morning. The thinnest covering of luck was on him like fresh dew.
May I rest my heavy-laden case? Given such copious evidence, it troubles me that people are trying to evict useful and innocent adjectives from the language they occupied long before such critics did. I just hope the next time an adjective-hater books a flight to paradise, he or she alights in Antarctica. Then maybe these individuals will wish they had booked a tropical paradise.
Image credit: Flickr/Alan Levine.
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June Books: A Reading List for the Month of Rituals
June is sickly sweet; it's insipid. Is that because it's so warm, or because it rhymes so easily? June / moon / spoon / balloon... But while Robert Burns happily rhymed his "red, red rose / That's newly sprung in June" with a "melody / that's sweetly played in tune," Gwendolyn Brooks burned off any sugar in the terse rhythms of "We Real Cool": the rhyme she finds for "Jazz June"? "Die soon."
Tom Nissley’s column A Reader's Book of Days is adapted from his book of the same name.
June is called "midsummer," even though it's the beginning, not the middle, of the season. It's the traditional month for weddings -- Shakespeare's Midsummer Night's Dream is overflowing with matrimony -- but it's also the home of another modern ritual, graduation day -- or, as it's more evocatively known, commencement, an ending that's a beginning. It's an occasion that brings out both hope and world-weariness in elders and advice givers. It brought David Foster Wallace, in his 2005 Kenyon College commencement address reprinted as This Is Water, perhaps as close as he ever came to the unironic statement his busy mind was striving for.
But the graduation speech is an especially potent scene in African American literature. There's the narrator's friend "Shiny" in James Weldon Johnson's Autobiography of an Ex-Colored Man, speaking to a white audience like "a gladiator tossed into the arena and bade to fight for his life," and there's Richard Wright, in his memoir Black Boy, giving a rough speech he'd composed himself instead of the one written, cynically, for him. Ralph Ellison's Invisible Man is invited to give his class speech before the town's leading white citizens, only to find himself instead pitted in a "battle royal" with his classmates, while in Maya Angelou's I Know Why the Caged Bird Sings, a young student follows a white dignitary's patronizing words to the graduates with an unprompted and subversive leading of the "Negro national anthem," "Lift Ev'ry Voice and Sing" (whose lyrics, to bring the tradition full circle, were written by none other than James Weldon Johnson).
Here is a selection of June reading for the beginnings and endings that midsummer brings:
McTeague by Frank Norris (1899)
One of American literature's most memorable -- and most disastrous -- weddings ends, after an orgy of oyster soup, stewed prunes, roast goose, and champagne, with Trina whispering to her groom, McTeague, "Oh, you must be very good to me -- very, very good to me, dear, for you're all that I have in the world now."
Ulysses by James Joyce (1922)
Five days after Joyce met Nora Barnacle on a Dublin street, and one day after she stood him up, they went on their first date. Eighteen years later, he celebrated that day -- June 16, 1904 -- with a book.
Suite Française by Irène Némirovsky (1942/2004)
After reading Colette's account of the migration out of Paris forced by the German occupation, Némirovsky remarked, "If that's all she could get out of June, I'm not worried," and continued work on her own version, "Storm in June," the first of the two sections of her fictional suite she'd survive the Nazis long enough to complete.
"The Lottery" by Shirley Jackson (1948)
It's a "clear and sunny" morning on June 27 when the men, women, and children of an unnamed village assemble to conduct their annual choosing of lots.
"The Day Lady Died" by Frank O'Hara (1959)
Writing during the lunch hour of his job at the Museum of Modern Art, O'Hara gathered the moments of his afternoon into a poem: the train schedule to Long Island, a shoeshine, the "quandariness" of choosing a book, the sweat of summer, and the memory of how Billie Holiday once took his breath away.
Blues for Mister Charlie by James Baldwin (1964) and "Where Is the Voice Coming From?" by Eudora Welty (1963)
On the day (June 12, 1963) Medgar Evers was assassinated, Baldwin vowed that "nothing under heaven would prevent" him from finishing the play he was working on, about another notorious murder of a black man in Mississippi, while Welty, on hearing of the murder in her hometown of Jackson, quickly wrote a story, told from the mind of the presumed killer, that was published in The New Yorker within weeks.
Jaws by Peter Benchley (1974)
Is the greatest beach read the one that could keep you from ever wanting to go into the water again?
Blind Ambition by John Dean (197?)
We know the story of the June 1972 Watergate break-in best from All the President's Men, but Dean's insider's memoir of how it quickly went wrong, co-written with future civil rights historian Taylor Branch, is an equally thrilling and well-told tale.
The Public Burning by Robert Coover (1977)
We've never quite known what to do with The Public Burning, Coover's wild American pageant starring Nixon, a foul and folksy Uncle Sam, and the Rosenbergs, whose June execution is at its center: it's too long, too angry, too crazy, and, for the publisher's lawyers who said it couldn't be released while its main character, the freshly deposed president, was still alive, it was too soon.
Sleepless Nights by Elizabeth Hardwick (1979)
Sleepless Nights begins in a hot, blinding June but soon fragments across time, into memories from the narrator's life -- which closely resembles Hardwick's -- and stories from the lives of others, a method that has the paradoxical effect of heightening time's power.
Clockers by Richard Price (1992)
It's often said that no modern novel can match the storytelling power of The Wire, but its creators drew inspiration from Price's novel of an unsolved summertime murder in the low-level New Jersey crack trade, and for their third season they added Price to their scriptwriting team.
When the World Was Steady by Claire Messud (1995)
Bali is hot but dry in June, while the Isle of Skye is gray and wet, at least until the weather makes yet another change. Messud's first novel follows two English sisters just on the far side of middle age who find themselves on those distant and different islands, reckoning with the choices they've made and suddenly open to the life around them.
"Brokeback Mountain" by Annie Proulx (1997)
Meeting again nearly four summers after they last parted on Brokeback Mountain, Jack Twist and Ennis del Mar are drawn together with such a jolt that Jack's teeth draw blood from Ennis's mouth.
Three Junes by Julia Glass (2002)
Three Junes might well be called "Three Funerals"--each of its three sections, set in summers that stretch across a decade, takes place in the wake of a death. But the warmth of the month in Glass's title hints at the story inside, and the way her characters hold on to life wherever they find it.
Image via circasassy/Flickr
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