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 -- for more February titles, check out our First-Half Preview. Let us know what you’re looking forward to in the comments! (Also, as Millions founder and publisher C. Max Magee wrote recently, 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. 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.) The Friend by Sigrid Nunez: In her latest novel, Nunez (a Year in Reading alum) ruminates on loss, art, and the unlikely—but necessary—bonds between man and dog. After the suicide of her best friend and mentor, an unnamed, middle-aged writing professor is left Apollo, his beloved, aging Great Dane. Publishers Weekly says the “elegant novel” reflects “the way that, especially in grief, the past is often more vibrant than the present.” (Carolyn) Feel Free by Zadie Smith: In her forthcoming essay collection, Smith provides a critical look at contemporary topics, including art, film, politics, and pop-culture. Feel Free includes many essays previously published in The New Yorker and The New York Review of Books and it is divided into five sections: In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free. Andrew Solomon described the collection as “a tonic that will help the reader reengage with life.” (Zoë) What Are We Doing Here? by Marilynne Robinson: One of my favorite literary discoveries of 2017 was that there are two camps of Robinson fans. Are you more Housekeeping or Gilead? To be clear, all of us Housekeeping people claim to have loved her work before the Pulitzer committee agreed. But this new book is a collection of essays where Robinson explores the modern political climate and the mysteries of faith, including, “theological, political, and contemporary themes.” Given that the essays come from Robinson’s incisive mind, I think there will be more than enough to keep both camps happy. (Claire) An American Marriage by Tayari Jones: In our greatest tragedies, there is the feeling of no escape—and when the storytelling is just right, we feel consumed by the heartbreak. In Jones’s powerful new novel, Celestial and Roy are a married couple with optimism for their future. Early in the book, Jones offers a revelation about Roy’s family, but that secret is nothing compared to what happens next: Roy is arrested for a crime he didn’t commit, and sentenced to over a decade in prison. An American Marriagearrives in the pained, authentic voices of Celestial, Roy, and Andre—Celestial’s longtime friend who moves into the space left by Roy’s absence. Life, and love, must go on. When the couple writes “I am innocent” to each other in consecutive letters, we weep for their world—but Jones makes sure that we can’t look away. (Nick R.) The Strange Bird by Jeff VanderMeer: Nothing is what it seems in VanderMeer’s fiction: bears fly, lab-generated protoplasm shapeshifts, and magic undoes science. In this expansion of his acclaimed novel Borne, which largely focused on terrestrial creatures scavenging a post-collapse wasteland, VanderMeer turns his attention upward. Up in the sky, things look a bit different. (Check out his prodigious Year in Reading here.) (Nick M.) House of Impossible Beauties by Joseph Cassara: First made famous in the documentary Paris Is Burning, New York City’s House of Xtravaganza is now getting a literary treatment in Cassara’s debut novel—one that’s already drawing comparisons to Hanya Yanagihara’s A Little Life. The story follows teenage Angel, a young drag queen just coming into her own, as she falls in love, founds her own house and becomes the center of a vibrant—and troubled—community. Critics call it “fierce, tender, and heartbreaking.” (Kaulie) Freshwater by Akwaeke Emezi: A surreal, metaphysical debut novel dealing with myth, mental health, and fractured selves centering around Ada, a woman from southern Nigeria “born with one foot on the other side.” She attends college in the U.S., where several internal voices threaten to pull her apart. Library Journal calls this “a gorgeous, unsettling look into the human psyche.” Read Emezi's lovely, illuminating essay on gender, transition, and Igbo ontology in The Cut. (Lydia) Going for a Beer by Robert Coover: Thirty stories from the last fifty years by the playful postmodern author who Alan Moore called one of "America's greatest literary geniuses." Read the titular story, published in The New Yorker in 2011, here. (Lydia) Where the Dead Sit Talking by Brandon Hobson: A coming-of-age story out of Oklahoma in the 1980s, Hobson's fourth book follows a fifteen-year-old Cherokee boy named Sequoyah and a relationship he forms with a girl in the foster home they share. In a starred review, Publisher's Weekly writes "Hobson’s narrative control is stunning, carrying the reader through scenes and timelines with verbal grace and sparse detail. Far more than a mere coming-of-age story, this is a remarkable and moving novel." (Lydia) Red Clocks by Leni Zumas: The latest novel from the author of The Listeners follows five women of different station in a small town in Oregon in a U.S. where abortion and IVF have been banned and embryos have been endowed with all the rights of people. A glimpse at the world some of our current lawmakers would like to usher in, one that Maggie Nelson calls “mordant, political, poetic, alarming, and inspiring–not to mention a way forward for fiction now.” (Lydia) Heart Berries by Terese Mailhot: In her debut memoir, Mailhot—raised on the Seabird Island Indian Reservation in southwestern Canada, presently a postdoctoral fellow at Purdue—grapples with a dual diagnosis of PTSD and Bipolar II disorder, and with the complicated legacy of a dysfunctional family. Sherman Alexie has hailed this book as “an epic take—an Iliad for the indigenous.” (Emily) Call Me Zebra by Azareen Van der Vliet Oloomi: If the driving force of Van der Vliet Oloomi’s first novel, Fra Keeler, was “pushing narrative to its limits” through unbuilding and decomposition, her second novel, Call Me Zebra, promises to do the same through a madcap and darkly humorous journey of retracing the past to build anew. Bibi Abbas Abbas Hossein is last in a line of autodidacts, anarchists, and atheists, whose family left Iran by way of Spain when she was a child. The book follows Bibi in present day as she returns to Barcelona from the U.S., renames herself Zebra and falls in love. Van der Vliet Oloomi pays homage to a quixotic mix of influences—including Miguel de Cervantes, Jorge Luis Borges, and Kathy Acker—in Call Me Zebra, which Kirkus calls “a brilliant, demented, and bizarro book that demands and rewards all the attention a reader might dare to give it.” (Anne) Carceral Capitalism by Jackie Wang: Part of Semiotext(e)'s Intervention series, this series of essays by poet and scholar Jackie Wang explores "racial capitalism," situating predatory lending practices on a continuum with incarceration. Read an excerpt describing the five planks of racial capitalism at The New Inquiry. (Lydia) All the Castles Burned by Michael Nye: Year in Reading alum has written his debut novel, a look at class and masculinity through the lens of basketball at a prestigious prep school in Ohio, and a friendship between two boys at opposite ends of the socioeconomic ladder. Publisher's Weekly called it "a suspenseful and memorable novel." (Lydia) House of Erzulie by Kirsten Amani Kasai: This novel comprises three intertwined stories centered around a Creole slave-owning family in Louisiana, and the present-day historian who discovers a trove of correspondence relating to its members. This title is from the new Shade Mountain Press, whose tag line is "a mob of scribbling women" ("In 1855 Nathaniel Hawthorne griped that 'a damned mob of scribbling women' had overrun the publishing scene. A century and a half later, that mob has still failed to materialize," its website reads). (Lydia)
The artist, author, and illustrator Shaun Tan has several images of gigantic monstrous beasts in his work, but my favorite is in his picture book The Red Tree, where a little girl with red hair--the story’s protagonist--walks down the street while over her looms a dour grayskinned trout the size of an ocean liner, its mouth agape in what I always imagine to be an extended, engulfing, loathsome moan. The creature in the scene is a kind of weather, a ceiling on the world, inescapable and impressive in its vastness. By its mere presence, it changes the whole scale of the picture, dwarfs the apparent subject (and the viewer). It acts by being, a character and a setting in one, and it throws anyone who confronts it into sudden definition: do they flee? Fight? Or, like the pictured girl, are they brought under the creature’s influence, their moods and chemistries pulled, like the tides, by the gravity of a distant body, alien and unknowable perhaps, but impossible to ignore? We see ourselves in the big things of this world--look for faces in clouds and cliffsides, give our human-shaped gods chariots to carry the sun and tridents to style the waves. We picture the arms of great trees throwing apples or raised in a midnight dance. If a monster truly came, some of us would worship it. Others would identify with it to the point of psychic death. Monstrous beasts exert the same level of influence on the stories that contain them as they do on the fellow inhabitants of those stories and the settings where they occur. If Chekhov demands that the gun on the mantel be fired, then Melville demands that Moby Dick be catalogued, the whole of whaledom surveyed like a country being mapped. When a story’s monster isn’t captured in a net of verbiage, then that absence informs what remains, a shadow cast on the pages from above. No matter what, we will not allow a monstrous beast to roam through narrative unscathed. Symbolism will fly at it from all directions, yet the creature will refuse to collapse into a single explanation. It will acquire meanings, yet remain (somehow) stubbornly itself. When a monstrous beast appears in a story, then it becomes, at least in part, what that story is about. Two recent novels contain, and are shaped by, monstrous beasts: The Buried Giant by Kazuo Ishiguro and Borne by Jeff VanderMeer. Set in immediately post-Arthurian England and a dystopic future hellscape, respectively, they might not have much in common if they didn’t feature behemoths endowed with unearthly powers. But it is only those behemoths that make these novels possible at all. One might be fooled into thinking that The Buried Giant isn’t about a dragon. The novel, when it begins, is the story of a marriage. An elderly couple, Axl and Beatrice, love each other dearly, but tragedy haunts their past. Perhaps they once had a son and lost him? Their dearth of memory sends them on an ill-conceived quest to find their way to his village. The stakes are high, but limited in scope--personal, not global. That is, until we discover the dragon at the heart of all this. Instead of smashing huts and castles, the she-dragon Querig has seeped her way through every barricade, insidiously polluting the atmosphere inside of people’s heads. Querig’s special ability is to breathe a Mist of Forgetfulness, fogging minds of the characters, erasing the past--yet strangely, allowing the previously warring Briton and Saxon tribes to live alongside each other in peace. Late in the novel, we learn that Querig’s presence is inextricably tied to King Arthur’s legacy of peace. The dragon was deliberately enchanted by Merlin in order to perform her ordained task, so “the bones [of war would] lie sheltered under a pleasant green carpet… long enough for old wounds to heal forever and an eternal peace to hold.” So long as Querig has “breath left, she does her duty.” Is the Mist a curse or a blessing? It is a force, and to stop it requires the slaying of a god. Sir Gawain, Querig’s supposed challenger, has been living a lie for decades. Though he claims that he and his horse Horace “have bided their time,” “have laid careful plans to lure [Querig] out and…seek no assistance,” nothing could be further from the truth. Arthur himself appointed Gawain as Querig’s protector, and Gawain will die before he sees her slain. When a new challenger, this time a real one, arises in the form of the warrior Wistan, Wistan’s persistent doubts and suspicions about Arthur’s peaceful legacy bring the matter to light. Spoiler: this doesn’t end well for Gawain, or for Querig. But the violence that unfolds takes on the qualities of the creature at its center. In a virtuosic description, Ishiguro renders Querig “emaciated,” “worm-like,” and “dehydrating,” “the remnants of her wings…sagging folds of skin that a careless glance might have taken for dead leaves.” Querig is the forgotten thing at the center of the forgetting she herself generates: impotent, absent, hardly recognizable as a dragon. Beatrice wonders aloud, “Can this really be her, Axl? […] This poor creature no more than a fleshy thread?” There is nothing assertive or combative in Querig. The mechanism of her power is to just keep breathing. She is nothing but a lung: as fragile, as essential. So when death comes to this book, it is without catharsis. It is a mere stopping of that breath. Sir Gawain falls first. An aged knight, he asks permission to unsheathe his sword before the duel with Wistan commences, to avoid humiliation (Wistan graciously allows it). The clash is brief, and when Gawain succumbs, he “struggle[s] for a moment, like a man in his sleep trying to make himself more comfortable,” then finally seems “content.” Wistan may hate everything Querig stands for, but the killing blow he inflicts resembles her Mist, wiping away all pain and strife and replacing it with an unconsciousness that leaves the affected soothed and stilled. When Querig dies, it is anticlimax upon anticlimax; she puts up less of a fight than Gawain. Motionless but for her rhythmic breathing and the steady blinking of her eye--“hooded in the manner of a turtle’s”--she lies on the floor of her pit while Wistain walks up to her and with “a swift, low arc in passing,” effortlessly decapitates her. At the time of The Buried Giant’s publication, Ursula K. Le Guin responded to a comment Ishiguro made about the book (“Are they going to say this is fantasy?”) by writing, “It was like watching a man falling from a high wire while he shouts to the audience, ‘Are they going to say I’m a tight-rope walker?’ ” Genre squabbling aside, Le Guin’s statement has lingered with me because of what it perhaps unintentionally captures about the peculiar nature of this book. Because, in a sense, Ishiguro does create a scenario like the one Le Guin proposes. He sets the stage for spectacle at dazzling heights, then presents us with players too ancient, too confused, to perform their chosen roles--to do anything but hand themselves over to merciless gravity and time. A man plummeting to his death, no longer certain about who he once was or how he’ll be remembered, is a man fallen victim to Querig…a man not unlike Querig herself. Just as Querig’s age and forgetfulness infuse the whole of The Buried Giant, the exact opposite qualities--youth, curiosity, hunger, and enthusiasm--underscore so much of Borne by Jeff VanderMeer. It’s no coincidence these are the very qualities possessed by the titular character. Borne begins life “dark purple and about the size of [a] fist…like a half-closed stranded sea anemone,” but under the tutelage of Rachel, a scavenging human who adopts him, this shapeshifting organism learns and grows rapidly. Like some strange hybrid of all that lives, he is eager to take nourishment of any kind – compost worms, pebbles, scraps of wood-- into his gelatinous core. But he is unique among living beings in that nothing comes out of him: no waste, no emissions. This literally all-consuming tendency would be terrifying if he weren’t just so cute. The first time Borne does something violent, it is to eat a team of young home-invaders who have been torturing his mom. Using the voice of one of these ingested assailants, he says, “I am Borne. I talking talking talking.” He also tells Rachel not to be afraid. As he continues to get bigger, his hunger for multi-celled lifeforms shrinks in comparison to his hunger for knowledge, which gets played out in whimsical, absurdist dialogues with his ersatz parent. “Borne didn’t know what serious was,” Rachel observes. Even when he ultimately begins ingesting other humans, Borne explains that he tries “to only kill evil people,” but more importantly, he doesn’t concede Rachel’s version of events: “I killed them but they’re not dead…I don’t think they will ever die.” Borne is alien, unknowable, but the very limits of his knowability exclude the possibility of human guile. He operates like nature unspoiled, a pristine wilderness incarnate in the form of a creature: a walking, talking web of life in which much is gained but nothing is lost. The result is a novel that feels weirdly innocent--weirdly being the key word. Because there is true darkness in this book too, and it comes from the novel’s other monstrous beast: the flying bear Mord. Mord is a destructive flying bear the size of a zeppelin. Foul-breathed, encrusted with refuse, he is beyond reason: madness has overcome the “toxic waste dump of his mind.” This is his punishment and his curse; once “curious about so many things,” he compromised himself irrevocably by working for the Company, a menacing entity that churned out irresponsible biotech, leading inevitably to the ruined state of the novel’s world. Now he has proxies that look like him and obey the commands of his blinding, incoherent rage. He is corrupted, contaminated, and though pitiable, he cannot be saved. As a result, the book’s final showdown between Borne and Mord functions like a battle between nature and pollution, creation and destruction. “There comes a moment when you witness events so epic you don’t know how to place them in the cosmos,” Rachel comments, and she’s not overselling the drama. Towering over the burning city, the creatures clash, until, like the compost worms Borne himself once consumed, Borne at last engulfs Mord, swallowing the beast entire--and causing both of them to vanish spontaneously. Because Borne is a child, the story that contains him takes on childlike qualities. It’s simple, brightly colored, a fable that could be performed brilliantly with stop-motion toys or puppets. I say that not as criticism but as high praise. Iconic, but also breathtakingly, astoundingly, bizarrely new, Borne is a rare book that delivers the surprise of true wonder that’s at the heart of seeing the world with fresh eyes. In fact, it’s no coincidence that one vaguely human feature the shapeshifting Borne decides to adopt is a ring of eyes, which encircle his body like a belt--“blue, black, brown, green pupils, and some were animal eyes, but he could see through all of them.” Though the Mad Hatter claims that “I see what I eat” isn’t the same as “I eat what I see,” the two kinds of voraciousness--abstract curiosity and physical hunger – feed on each other in Borne until he at last outgrows the story he’s in. By conjuring monstrous beasts in the pages their novels, Ishiguro and VanderMeer endow their stories with vast scope. Each creature also gives its story’s world an aesthetic center around which other elements can orbit. Though the two novels couldn’t be more different, they’re united in this… and also in the humility that comes with placing the lives of human characters in perspective against larger forces. Like the little girl in The Red Tree, these novels’ human characters walk in the shadow of the incomprehensible--as do we all. Image: Wikimedia
Settle in, folks, because this is one the longest first-half previews we've run in a long while. Putting this together is a labor of love, and while a huge crop of great spring books increases the labor, it also means there is more here for readers to love. We'd never claim to be comprehensive—we know there are far more excellent books on the horizon than one list can hold, which is why we've started doing monthly previews in addition to the semi-annual lists (and look out for the January Poetry Preview, which drops tomorrow). But we feel confident we've put together a fantastic selection of (almost 100!) works of fiction, memoir, and essay to enliven your January through June 2018. What's in here? New fiction by giants like Michael Ondaatje, Helen DeWitt, Lynne Tillman, and John Edgar Wideman. Essays from Zadie Smith, Marilynne Robinson, and Leslie Jamison. Exciting debuts from Nafkote Tamirat, Tommy Orange, and Lillian Li. Thrilling translated work from Leïla Slimani and Clarice Lispector. A new Rachel Kushner. A new Rachel Cusk. The last Denis Johnson. The last William Trevor. The long-awaited Vikram Seth. As Millions founder and publisher C. Max Magee wrote recently, 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. 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. So don your specs, clear off your TBR surfaces, and prepare for a year that, if nothing else, will be full of good books. JANUARY The Perfect Nanny by Leïla Slimani (translated by Sam Taylor): In her Goncourt Prize-winning novel, Slimani gets the bad news out of the way early—on the first page to be exact: “The baby is dead. It only took a few seconds. The doctor said he didn’t suffer. The broken body, surrounded by toys, was put inside a gray bag, which they zipped up.” Translated from the French by Sam Taylor as The Perfect Nanny—the original title was Chanson Douce, or Lullaby—this taut story about an upper-class couple and the woman they hire to watch their child tells of good help gone bad. (Matt) Halsey Street by Naima Coster: Coster’s debut novel is set in Bedford-Stuyvesant, a rapidly gentrifying corner of Brooklyn. When Penelope Grand leaves a failed art career in Pittsburgh and comes home to Brooklyn to look after her father, she finds her old neighborhood changed beyond recognition. The narrative shifts between Penelope and her mother, Mirella, who abandoned the family to move to the Dominican Republic and longs for reconciliation. A meditation on family, love, gentrification, and home. (Emily) Fire Sermon by Jamie Quatro: Five years after her story collection, I Want to Show You More, drew raves from The New Yorker’s James Wood and Dwight Garner at The New York Times, Quatro delivers her debut novel, which follows a married woman’s struggle to reconcile a passionate affair with her fierce attachment to her husband and two children. “It’s among the most beautiful books I’ve ever read about longing—for beauty, for sex, for God, for a coherent life,” says Garth Greenwell, author of What Belongs to You. (Michael) The Largesse of the Sea Maiden by Denis Johnson: Johnson’s writing has always had an antiphonal quality to it—the call and response of a man and his conscience, perhaps. In these stories, a dependably motley crew of Johnson protagonists find themselves forced to take stock as mortality comes calling. The writing has a more plangent tone than Angels and Jesus’ Son, yet is every bit as edgy. Never afraid to look into the abyss, and never cute about it, Johnson will be missed. Gratefully, sentences like the following, his sentences, will never go away: “How often will you witness a woman kissing an amputation?” R.I.P. (Il’ja) A Girl in Exile by Ismail Kadare (translated by John Hodgson): Kadare structures the novel like a psychological detective yarn, but one with some serious existential heft. The story is set physically in Communist Albania in the darkest hours of totalitarian rule, but the action takes place entirely in the head and life of a typically awful Kadare protagonist—Rudian Stefa, a writer. When a young woman from a remote province ends up dead with a provocatively signed copy of Stefa’s latest book in her possession, it’s time for State Security to get involved. A strong study of the ease and banality of human duplicity. (Il’ja) Frankenstein in Baghdad by Ahmed Saadawi (translated by Jonathan Wright): The long-awaited English translation of the winner of the International Prize for Arabic Fiction in 2014 gives American readers the opportunity to read Saadawi’s haunting, bleak, and darkly comic take on Iraqi life in 2008. Or, as Saadawi himself put it in interview for Arab Lit, he set out to write “the fictional representation of the process of everyone killing everyone.” (Check out Saadawi's Year in Reading here.) (Nick M.) This Will Be My Undoing by Morgan Jerkins: Wünderkind Jerkins has a background in 19th-century Russian lit and postwar Japanese lit, speaks six languages, works/has worked as editor and assistant literary agent; she writes across many genres—reportage, personal essays, fiction, profiles, interviews, literary criticism, and sports and pop culture pieces; and now we’ll be seeing her first book, an essay collection. From the publisher: “This is a book about black women, but it’s necessary reading for all Americans.” The collected essays will cover topics ranging from “Rachel Dolezal; the stigma of therapy; her complex relationship with her own physical body; the pain of dating when men say they don’t ‘see color’; being a black visitor in Russia; the specter of ‘the fast-tailed girl’ and the paradox of black female sexuality; or disabled black women in the context of the ‘Black Girl Magic’ movement.” (Sonya) Mouths Don’t Speak by Katia D. Ulysse: In Drifting, Ulysse’s 2014 story collection, Haitian immigrants struggle through New York City after the 2010 earthquake that destroyed much of their county. In her debut novel, Ulysse revisits that disaster with a clearer and sharper focus. Jacqueline Florestant is mourning her parents, presumed dead after the earthquake, while her ex-Marine husband cares for their young daughter. But the expected losses aren’t the most serious, and a trip to freshly-wounded Haiti exposes the way tragedy follows class lines as well as family ones. (Kaulie) The Sky Is Yours by Chandler Klang Smith: Smith’s The Sky Is Yours, is a blockbuster of major label debuts. The dystopic inventiveness of this genre hybrid sci-fi thriller/coming of age tale/adventure novel has garnered comparisons to Gary Shteyngart, David Mitchell and Ridley Scott’s Blade Runner. And did I mention? It has dragons, too, circling the crumbling Empire Island, and with them a fire problem (of course), and features a reality TV star from a show called Late Capitalism's Royalty. Victor LaValle calls The Sky Is Yours "a raucous, inventive gem of a debut." Don't just take our word for it, listen to an audio excerpt. (Anne) Everything Here Is Beautiful by Mira T. Lee: Spanning cultures and continents, Lee’s assured debut novel tells the story of two sisters who are bound together and driven apart by the inescapable bonds of family. Miranda is the sensible one, thrust into the role of protector of Lucia, seven years younger, head-strong, and headed for trouble. Their mother emigrated from China to the U.S. after the death of their father, and as the novel unfurls in clear, accessible prose, we follow the sisters on journeys that cover thousands of miles and take us into the deepest recesses of the human heart. Despite its sunny title, this novel never flinches from big and dark issues, including interracial love, mental illness and its treatment, and the dislocations of immigrant life. (Bill) The Infinite Future by Tim Wirkus: I read this brilliant puzzle-of-a-book last March and I still think about it regularly! The Infinite Future follows a struggling writer, a librarian, and a Mormon historian excommunicated from the church on their search for a reclusive Brazilian science fiction writer. In a starred review, Book Page compares Wirkus to Jonathan Lethem and Ron Currie Jr., and says the book “announces Wirkus as one of the most exciting novelists of his generation.” I agree. (Edan) The Job of the Wasp by Colin Winnette: With Winnette’s fourth novel he proves he’s adept at re-appropriating genre conventions in intriguing ways. His previous book, Haint’s Stay, is a Western tale jimmyrigged for its own purposes and is at turns both surreal and humorous. Winnette's latest, The Job of the Wasp, takes on the Gothic ghost novel and is set in the potentially creepiest of places—an isolated boarding school for orphaned boys, in the vein of Robert Walser’s Jakob von Gunten, Jenny Erpenbeck’s The Old Child, or even Charles Dickens’s Oliver Twist. “Witty and grisly” according to Kelly Link, strange and creepy, Job of the Wasp reveals Winnette's "natural talent" says Patrick deWitt. (Anne) Brass by Xhenet Aliu: In what Publishers Weekly calls a "striking first novel," a daughter searches for answers about the relationship between her parents, a diner waitress from Waterbury, Conn. and a line cook who emigrated from Albania. Aliu writes a story of love, family, and the search for an origin story, set against the decaying backdrop of a post-industrial town. In a starred review, Kirkus writes "Aliu’s riveting, sensitive work shines with warmth, clarity, and a generosity of spirit." (Lydia) The Immortalists by Chloe Benjamin: Four adolescent sibling in 1960s New York City sneak out to see a psychic, who tells each of them the exact date they will die. They take this information with a grain of salt, and keep it from each other, but Benjamin’s novel follows them through the succeeding decades, as their lives alternately intertwine and drift apart, examining how the possible knowledge of their impending death affects how they live. I’m going to break my no-novels-about-New-Yorkers rule for this one. (Janet) King Zeno by Nathaniel Rich: This historical thriller features an ax-wielding psychopath wreaking havoc in the city of Sazeracs. It’s been eight years since Rich moved to New Orleans, and in that time, he’s been a keen observer, filing pieces on the city’s storied history and changing identity for various publications, not least of all The New York Review of Books. He’s certainly paid his dues, which is vitally important since the Big Easy is an historically difficult city for outsiders to nail without resorting to distracting tokenism (a pelican ate my beignet in the Ninth Ward). Fortunately, Rich is better than that. (Nick M.) The Monk of Mokha by Dave Eggers: Eggers returns to his person-centered reportage with an account of a Yemeni-American man named Mokhtar Alkhanshali's efforts to revive the Yemeni tradition of coffee production just when war is brewing. A starred Kirkus review calls Eggers's latest "a most improbable and uplifting success story." (Lydia) In Every Moment We Are Still Alive by Tom Malmquist (translated by Henning Koch): A hit novel by a Swedish poet brought to English-reading audiences by Melville House. This autobiographical novel tells the story of a poet whose girlfriend leaves the world just as their daughter is coming into it--succumbing suddenly to undiagnosed leukemia at 33 weeks. A work of autofiction about grief and survival that Publisher's Weekly calls a "beautiful, raw meditation on earth-shattering personal loss." (Lydia) Peculiar Ground by Lucy Hughes-Hallett: The award-winning British historian (The Pike: Gabriele D'Annunzio, Poet, Seducer and Preacher of War) makes her fiction debut. Narrated by multiple characters, the historical novel spans three centuries and explores the very timely theme of immigration. Walls are erected and cause unforeseen consequences for both the present and futurey. In its starred review, Kirkus said the novel was "stunning for both its historical sweep and its elegant prose." (Carolyn) Neon in Daylight by Hermione Hoby: A novel about art, loneliness, sex, and restless city life set against the backdrop of Hurricane Sandy-era New York, Neon in Daylight follows a young, adrift English catsitter as she explores the galleries of New York and develops an infatuation with a successful writer and his daughter, a barista and sex-worker. The great Ann Patchett called Hoby "a writer of extreme intelligence, insight, style and beauty." (Lydia) This Could Hurt by Jillian Medoff: Medoff works a double shift: when she isn’t writing novels, she’s working as a management consultant, which means, as her official bio explains, “that she uses phrases like ‘driving behavior’ and ‘increasing ROI’ without irony.” In her fourth novel, she turns her attention to a milieu she knows very well, the strange and singular world of corporate America: five colleagues in a corporate HR department struggle to find their footing amidst the upheaval and uncertainty of the 2008-2009 economic collapse. (Emily) The Afterlives by Thomas Pierce: Pierce’s first novel is a fascinating and beautifully rendered meditation on ghosts, technology, marriage, and the afterlife. In a near-future world where holograms are beginning to proliferate in every aspect of daily life, a man dies—for a few minutes, from a heart attack, before he’s revived—returns with no memory of his time away, and becomes obsessed with mortality and the afterlife. In a world increasingly populated by holograms, what does it mean to “see a ghost?” What if there’s no afterlife? On the other hand, what if there is an afterlife, and what if the afterlife has an afterlife? (Emily) Grist Mill Road by Christopher J. Yates: The follow-up novel by the author of Black Chalk, an NPR Best of the Year selection. Yates's latest "Rashomon-style" literary thriller follows a group of friends up the Hudson, where they are involved in a terrible crime. "I Know What You Did Last Summer"-style, they reconvene years later, with dire consequences. The novel receives the coveted Tana French endorsement: she calls it "darkly, intricately layered, full of pitfalls and switchbacks, smart and funny and moving and merciless." (Lydia) FEBRUARY The Friend by Sigrid Nunez: In her latest novel, Nunez (a Year in Reading alum) ruminates on loss, art, and the unlikely—but necessary—bonds between man and dog. After the suicide of her best friend and mentor, an unnamed, middle-aged writing professor is left Apollo, his beloved, aging Great Dane. Publishers Weekly says the “elegant novel” reflects “the way that, especially in grief, the past is often more vibrant than the present.” (Carolyn) Feel Free by Zadie Smith: In her forthcoming essay collection, Smith provides a critical look at contemporary topics, including art, film, politics, and pop-culture. Feel Free includes many essays previously published in The New Yorker and The New York Review of Books and it is divided into five sections: In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free. Andrew Solomon described the collection as “a tonic that will help the reader reengage with life.” (Zoë) What Are We Doing Here? by Marilynne Robinson: One of my favorite literary discoveries of 2017 was that there are two camps of Robinson fans. Are you more Housekeeping or Gilead? To be clear, all of us Housekeeping people claim to have loved her work before the Pulitzer committee agreed. But this new book is a collection of essays where Robinson explores the modern political climate and the mysteries of faith, including, "theological, political, and contemporary themes." Given that the essays come from Robinson's incisive mind, I think there will be more than enough to keep both camps happy. (Claire) An American Marriage by Tayari Jones: In our greatest tragedies, there is the feeling of no escape—and when the storytelling is just right, we feel consumed by the heartbreak. In Jones’s powerful new novel, Celestial and Roy are a married couple with optimism for their future. Early in the book, Jones offers a revelation about Roy’s family, but that secret is nothing compared to what happens next: Roy is arrested for a crime he didn’t commit, and sentenced to over a decade in prison. An American Marriage arrives in the pained, authentic voices of Celestial, Roy, and Andre—Celestial’s longtime friend who moves into the space left by Roy’s absence. Life, and love, must go on. When the couple writes “I am innocent” to each other in consecutive letters, we weep for their world—but Jones makes sure that we can’t look away. (Nick R.) The Strange Bird by Jeff VanderMeer: Nothing is what it seems in VanderMeer’s fiction: bears fly, lab-generated protoplasm shapeshifts, and magic undoes science. In this expansion of his acclaimed novel Borne, which largely focused on terrestrial creatures scavenging a post-collapse wasteland, VanderMeer turns his attention upward. Up in the sky, things look a bit different. (Check out his prodigious Year in Reading here.) (Nick M.) House of Impossible Beauties by Joseph Cassara: First made famous in the documentary Paris Is Burning, New York City’s House of Xtravaganza is now getting a literary treatment in Cassara’s debut novel—one that’s already drawing comparisons to Hanya Yanagihara’s A Little Life. The story follows teenage Angel, a young drag queen just coming into her own, as she falls in love, founds her own house and becomes the center of a vibrant—and troubled—community. Critics call it “fierce, tender, and heartbreaking.” (Kaulie) Freshwater by Akwaeke Emezi: A surreal, metaphysical debut novel dealing with myth, mental health, and fractured selves centering around Ada, a woman from southern Nigeria "born with one foot on the other side." She attends college in the U.S., where several internal voices emerge to pull her this way and that. Library Journal calls this "a gorgeous, unsettling look into the human psyche." (Lydia) Red Clocks by Leni Zumas: The latest novel from the author of The Listeners follows five women of different station in a small town in Oregon in a U.S. where abortion and IVF have been banned and embryos have been endowed with all the rights of people. A glimpse at the world some of our current lawmakers would like to usher in, one that Maggie Nelson calls "mordant, political, poetic, alarming, and inspiring--not to mention a way forward for fiction now." (Lydia) Heart Berries by Terese Mailhot: In her debut memoir, Mailhot—raised on the Seabird Island Indian Reservation in southwestern Canada, presently a postdoctoral fellow at Purdue—grapples with a dual diagnosis of PTSD and Bipolar II disorder, and with the complicated legacy of a dysfunctional family. Sherman Alexie has hailed this book as “an epic take—an Iliad for the indigenous.” (Emily) Asymmetry by Lisa Halliday: 2017 Whiting Award winner Halliday has written a novel interweaving the lives of a young American editor and a Kurdistan-bound Iraqi-American man stuck in an immigration holding room in Heathrow airport. Louise Erdrich calls this "a novel of deceptive lightness and a sort of melancholy joy." (Lydia) Back Talk by Danielle Lazarin: long live the short story, as long as writers like Lazarin are here to keep the form fresh. The collection begins with “Appetite,” narrated by nearly 16-year-old Claudia, whose mother died of lung cancer. She might seem all grown up, but “I am still afraid of pain—for myself, for all of us.” Lazarin brings us back to a time when story collections were adventures in radical empathy: discrete panels of pained lives, of which we are offered chiseled glimpses. Even in swift tales like “Window Guards,” Lazarin has a finely-tuned sense of pacing and presence: “The first time Owen shows me the photograph of the ghost dog, I don’t believe it.” Short stories are like sideways glances or overheard whispers that become more, and Lazarin makes us believe there’s worth in stories that we can steal moments to experience. (Nick R.) The Château by Paul Goldberg: In Goldberg’s debut novel, The Yid, the irrepressible members of a Yiddish acting troupe stage manages a plot to assassinate Joseph Stalin in hopes of averting a deadly Jewish pogrom. In his second novel, the stakes are somewhat lower: a heated election for control of a Florida condo board. Kirkus writes that Goldberg’s latest “confirms his status as one of Jewish fiction's liveliest new voices, walking in the shoes of such deadpan provocateurs as Mordecai Richler and Stanley Elkin.” (Matt) The Line Becomes a River by Francisco Cantú: A memoir by a Whiting Award-winner who served as a U.S. border patrol agent. Descended from Mexican immigrants, Cantú spends four years in the border patrol before leaving for civilian life. His book documents his work at the border, and his subsequent quest to discover what happened to a vanished immigrant friend. (Lydia) Call Me Zebra by Azareen Van der Vliet Oloomi: If the driving force of Van der Vliet Oloomi's first novel, Fra Keeler, was "pushing narrative to its limits" through unbuilding and decomposition, her second novel, Call Me Zebra, promises to do the same through a madcap and darkly humorous journey of retracing the past to build anew. Bibi Abbas Abbas Hossein is last in a line of autodidacts, anarchists, and atheists, whose family left Iran by way of Spain when she was a child. The book follows Bibi in present day as she returns to Barcelona from the U.S., renames herself Zebra and falls in love. Van der Vliet Oloomi pays homage to a quixotic mix of influences—including Miguel de Cervantes, Jorge Luis Borges, and Kathy Acker—in Call Me Zebra, which Kirkus calls "a brilliant, demented, and bizarro book that demands and rewards all the attention a reader might dare to give it." (Anne) Some Hell by Patrick Nathan: A man commits suicide, leaving his wife, daughter, and two sons reckoning with their loss. Focused on the twinned narratives of Colin, a middle schooler coming to terms with his sexuality, as well as Diane, his mother who’s trying to mend her fractured family, Nathan’s debut novel explores the various ways we cope with maturity, parenting, and heartbreak. (Read Nathan's Year in Reading here.) (Nick M.) The Wedding Date by Jasmine Guillory: If 2017 was any indication, events in 2018 will try the soul. Some readers like to find escape from uncertain times with dour dystopian prognostications or strained family stories (and there are plenty). But what about something fun? Something with sex (and maybe, eventually, love). Something Roxane Gay called a "charming, warm, sexy gem of a novel....One of the best books I've read in a while." Something so fun and sexy it earned its author a two-book deal (look out for the next book, The Proposal, this fall). Wouldn't it feel good to feel good again? (Lydia) MARCH The Census by Jesse Ball: Novelist Ball's nimble writing embodies the lightness and quickness that Calvino prized (quite literally, too: he pens his novels in a mad dash of days to weeks). And he is prolific, too. Since his previous novel, How to Start a Fire and Why, he has has written about the practice of lucid dreaming and his unique form of pedagogy, as well as a delightfully morbid compendium of Henry King’s deaths, with Brian Evenson. Ball's seventh novel, The Census, tells the story of a dying doctor and his concern regarding who will care for his son with Down Syndrome, as they set off together on a cross-country journey. (Anne) Men and Apparitions by Lynne Tillman: News of a new Tillman novel is worthy of raising a glass. Men and Apparitions is the follow-up novel to Tillman's brilliant, ambitious American Genius: A Comedy. Men and Apparitions looks closely at our obsession with the image through the perspective of cultural anthropologist Ezekiel "Zeke" Hooper Stark. Norman Rush says, "this book is compelling and bracing and you read many sentences twice to get all the juice there is in them.” Sarah Manguso has said she is "grateful" for Tillman's "authentically weird and often indescribable books." I second that. (Anne) Whiskey & Ribbons by Leesa Cross-Smith: Police officer Eamon Michael Royce is killed in the line of duty. His pregnant wife, Evi, narrates Eamon’s passing with elegiac words: “I think of him making the drive, the gentle peachy July morning light illuminating his last moments, his last heartbeat, his last breath.” Months later and wracked with grief, Evi falls for her brother-in-law Dalton: “Backyard-wandering, full-moon pregnant in my turquoise maternity dress and tobacco-colored cowboy boots. I’d lose my way. Dalton would find me. He was always finding me.” The sentences in Cross-Smith’s moving debut are lifted by a sense of awe and mystery—a style attuned to the graces of this world. Whiskey & Ribbons turns backward and forward in time: we hear Eamon’s anxieties about fatherhood, and Dalton’s continuous search for meaning in his life. “I am always hot, like I’m on fire,” Evi dreams later in the novel, still reliving her husband’s death, “burning and gasping for air.” In Cross-Smith’s novel, the past is never forgotten. (Nick R.) The Emissary by Yoko Tawada (translated by Margaret Mitsutani): In a New Yorker essay on Tawada, author of Memoirs of a Polar Bear, Riva Galchen wrote that “often in [her] work, one has the feeling of having wandered into a mythology that is not one’s own.” Tawada’s latest disorienting mythology is set in a Japan ravaged by a catastrophe. If children are the future, what does it presage that, post-disaster, they are emerging from the womb as frail, aged creatures blessed with an uncanny wisdom? (Read her Year in Reading here.) (Matt) The Sparsholt Affair by Alan Hollinghurst: Hollinghurst’s sixth novel has already received glowing reviews in the U.K. As the title suggests, the plot hinges on a love affair, and follows two generations of the Sparsholt family, opening in 1940 at Oxford, just before WWII. The Guardian called it “an unashamedly readable novel...indeed it feels occasionally like Hollinghurst is trying to house all the successful elements of his previous books under the roof of one novel.” To those of us who adore his books, this sounds heavenly. (Hannah) The Chandelier by Clarice Lispector (translated by Magdalena Edwards and Benjamin Moser): Since Katrina Dodson published a translation of Lispector’s complete stories in 2015, the Brazilian master's popularity has enjoyed a resurgence. Magdalena Edwards and Benjamin Moser’s new translation of Lispector’s second novel promises to extend interest in the deceased writer’s work. It tells the story of Virginia, a sculptor who crafts intricate pieces in marked isolation. This translation marks the first time The Chandelier has ever appeared in English (Ismail). The Parking Lot Attendant by Nafkote Tamirat: It's very easy to love this novel but difficult to describe it. A disarming narrator begins her account from a community with strange rules and obscure ideology located on an unnamed island. While she and her father uneasily bide their time in this not-quite-utopia, she reflects on her upbringing in Boston, and a friendship--with the self-styled leader of the city's community of Ethiopian immigrants--that begins to feel sinister. As the story unfolds, what initially looked like a growing-up story in a semi-comic key becomes a troubling allegory of self-determination and sacrifice. (Lydia) Let's No One Get Hurt by Jon Pineda: A fifteen-year-old girl named Pearl lives in squalor in a southern swamp with her father and two other men, scavenging for food and getting by any way they can. She meets a rich neighbor boy and starts a relationship, eventually learning that his family holds Pearl's fate in their hands. Publisher's Weekly called it "an evocative novel about the cruelty of children and the costs of poverty in the contemporary South." (Lydia) The Merry Spinster by Mallory Ortberg: Fairy tales get a feminist spin in this short story collection inspired by Ortberg's most popular Toast column, "Children's Stories Made Horrific." This is not your childhood Cinderella, but one with psychological horror and Ortberg's signature snark. Carmen Maria Machado calls it a cross between, "Terry Pratchett’s satirical jocularity and Angela Carter’s sinister, shrewd storytelling, and the result is gorgeous, unsettling, splenic, cruel, and wickedly smart." Can't wait to ruin our favorite fables! (Tess) The House of Broken Angels by Luis Alberto Urrea: Urrea is one of the best public speakers I’ve ever seen with my 35-year-old eyes, so it’s incredible that it’s not even the thing he’s best at. He’s the recipient of an American Book Award and a Pulitzer nominee for The Devil’s Highway. His new novel is about the daily life of a multi-generational Mexican-American family in California. Or as he puts it, “an American family—one that happens to speak Spanish and admire the Virgin of Guadalupe.” (Janet) Speak No Evil by Uzodinma Iweala: Nearly 15 years after his critically-acclaimed debut novel, Beasts of No Nation, was published, Iweala is back with a story as deeply troubling. Teenagers Niru and Meredith are best friends who come from very different backgrounds. When Niru’s secret is accidentally revealed (he’s queer), there is unimaginable and unspeakable consequences for both teens. Publishers Weekly’s starred review says the “staggering sophomore novel” is “notable both for the raw force of Iweala’s prose and the moving, powerful story.” (Carolyn) American Histories: Stories by John Edgar Wideman: Wideman’s new book is a nearly fantastical stretching and blurring of conventional literary forms—including history, fiction, philosophy, biography, and deeply felt personal vignettes. We get reimagined conversations between the abolitionist Frederick Douglass and the doomed white crusader for racial equality John Brown. We get to crawl inside the mind of a man sitting on the Williamsburg Bridge, ready to jump. We get Wideman pondering deaths in his own family. We meet Jean Michel Basquiat and Nat Turner. What we get, in the end, is a book unlike any other, the work of an American master working at peak form late in a long and magnificent career. (Bill) Happiness by Aminatta Forna: A novel about what happens when an expert on the habits of foxes and an expert on the trauma of refugees meet in London, one that Paul Yoon raved about it in his Year in Reading: "It is a novel that carries a tremendous sense of the world, where I looked up upon finishing and sensed a shift in what I thought I knew, what I wanted to know. What a gift." In a starred review, Publisher's Weekly says "Forna's latest explores instinct, resilience, and the complexity of human coexistence, reaffirming her reputation for exceptional ability and perspective." (Lydia) The Neighborhood by Mario Vargas Llosa (translated by Edith Grossman): The Nobel Prize winner's latest arrives in translation from the extraordinary Edith Grossman. The Neighborhood is symphonic, a “thriller,” if you can call it that, about a detective whose wife gets roped into a debilitating situation. It is set in Llosa’s 1990s Peru, and you see this place with its paradox of grayness and color, juxtaposed with spots of blood. Two women married to very affluent men are having a lesbian affair, and one of their husbands, Enrique, is being blackmailed. When he fails to meet a photo magazine editor’s demands, he is slandered with photos of an erotic encounter on the front pages of the magazine. These two threads will converge at a point of explosion as is wont with Llosa’s novels. While this may not be his best work, it will keep readers reading all the way. (Chigozie) My Dead Parents by Anya Yurchyshyn: Sometimes truth is more fascinating than fiction. Such is the case with Yurchyshyn's My Dead Parents, which started as an anonymous Tumblr blog where the author posted photos and slivers of her parents' correspondences in an attempt to piece together the mystery of their lives. Yurchyshyn's father was a banker who died in Ukraine in a car "accident" that was possibly a hit when she was 16, and years later, though not many, her mother succumbed to alcoholism. Her parents made an enviously handsome couple, but they lived out Leo Tolstoy’s adage of each family being unhappy in its own way. Yurchyshyn's tale is one of curiosity and discovery; it's also an inquiry into grief and numbness. Her Buzzfeed essay, "How I Met My Dead Parents," provides an apt introduction. (Anne) The Last Watchman of Old Cairo by Michael David Lukas: Year in Reading alum and author of The Oracle of Stamboul explores the history of Cairo's Ben Ezra Synagogue (site of the famous Cairo Geniza document trove discovered in the nineteenth century) through the story of its generations of Muslim watchmen as gleaned by their modern-day, Berkeley-dwelling scion. Rabih Alameddine calls it "a beautiful, richly textured novel, ambitious and delicately crafted...a joy." (Lydia) Bury What We Cannot Take by Kirstin Chen: This is an atmospheric novel of betrayal and ardent allegiance to ideology and political choices. When young Ah Liam decides it’s virtuous to report the resistance of his grandmother to Maoist rule to the authorities, he unravels his family with his own hands. His decision leads to the family having to flee the country and for them to have to make a decision: leave a fraction of the family behind or face greater harm. With its striking title about the sacrifice (the “burying”) of those who are left behind, the novel succeeds in drawing a very striking portrait of this turbulent period of Chinese history. (Chigozie) Memento Park by Mark Sarvas: Many of us who have been with The Millions for some years surely remember Sarvas’s pioneer lit blog, The Elegant Variation—and look forward to his second novel, Memento Park, 10 years after his critically acclaimed Harry, Revised. Memento Park is about art, history, Jewishness, fathers and sons: Joseph O’Neill writes pithily, “A thrilling, ceaselessly intelligent investigation into the crime known as history.” So far, Kirkus praises Sarvas for “skillful prose and well-drawn characters.” (Sonya) Wrestling with the Devil by Ngũgĩ wa Thiong'o: Famously, Kenyan author Ngugi wrote his Gikuyu novel Devil on the Cross while serving out a prison sentence. (And he did it on toilet paper, no less.) Now, the writer whom Chimamanda Adichie calls “one of the greatest of our time” is releasing a memoir of his prison stay, begun a half-hour before he was finally released. Taking the form of an extended flashback, the memoir begins at the moment of the author’s arrest and ends, a year later, when he left prison with a novel draft. (Thom) Stray City by Chelsey Johnson: Twenty-something artist Andrea ran away from the Midwest to Portland to escape the expectation to be a mother and create a life for herself as a queer artist. Then, confused and hurt by a break-up, she hooked up with a man—and ended up having his child. Chelsey Johnson’s debut novel, which comes after a successful run of short stories like the Ploughshares Solo “Escape and Reverse,” is a humorous and heartfelt exploration of sexual identity and unconventional families. (Ismail) APRIL The Female Persuasion by Meg Wolitzer: Wolitzer is one of those rare novelists who is able to capture the zeitgeist. Her follow up to The Interestings, The Female Persuasion centers around Greer Kadetsky, who is a freshman in college when she meets Faith Frank, an inspiring feminist icon who ignites Greer's passions. After graduation, Greer lands a job at Frank's foundation and things get real. Wolitzer is a master weaver of story lines and in this novel she brings four together as the characters search for purpose in life and love. As the starred review in Publisher's Weekly says, this novel explores, "what it is to both embrace womanhood and suffer because of it." Amen sister. (Claire) The Recovering by Leslie Jamison: The bestselling author of The Empathy Exams brings us The Recovering, which explores addiction and recovery in America, in particular the stories we tell ourselves about addiction. Jamison also examines the relationship many well-known writers and artists had with addiction, including Amy Winehouse, Billie Holiday, Raymond Carver, David Foster Wallace, and more. The Recovering has received advance praise from Stephen King, Vivian Gornick, and Anne Fadiman. Chris Kraus described the The Recovering as “a courageous and brilliant example of what nonfiction writing can do.” (Zoë) Circe by Madeline Miller: It took Miller 10 years to write her Orange Prize-winning debut novel, The Song of Achilles. Happily, we only had to wait another five for Circe, even more impressive when one considers that the novel’s story covers millennia. Here Miller again invokes the classical world and a massive cast of gods, nymphs, and mortals, but it’s all seen through the knowing eyes of Circe, the sea-witch who captures Odysseus and turns men into monsters. (Kaulie) America Is Not the Heart by Elaine Castillo: As we enter year two of the Donald Trump presidency, Castillo’s first novel challenges readers to look beyond the headlines to grasp the human dimension of America’s lure to immigrants in this big-hearted family saga about three generations of Filipina women who struggle to reconcile the lives they left behind in the Philippines with the ones they are making for themselves in the American suburbs. (Michael) You Think It, I’ll Say It by Curtis Sittenfeld: Is Sittenfeld a serious literary novelist who dabbles in chick lit? Is she a writer of frothy beach reads who happens to have an MFA from Iowa? Do such distinctions still have any meaning in today’s fiction market? Readers can decide for themselves when Sittenfeld publishes her first story collection, after five novels that have ranged from her smash debut Prep to American Wife, her critically acclaimed “fictional biography” of former First Lady Laura Bush. (Michael) Varina by Charles Frazier: Returning to the setting of his NBA winning Cold Mountain, Frazier taps into the American Civil War, specifically the life of Varina Howell Davis, the teenage bride of Jefferson Davis, president of the Confederacy. In this personal tragedy set in an epic period of American history, Frazier examines how “being on the wrong side of history carries consequences” regardless of one’s personal degree of involvement in the offense. Something to think about. (Il’ja) Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean: You’ve been reading Dean’s reviews and journalism for some time at The Nation, The Guardian, Buzzfeed, The New Yorker, Slate, Salon The New Republic, et alia. Winner of the 2016 NBCC's Nona Balakian Citation for Excellence in Reviewing, Dean is debuting her first book with apt timing: Sharp features intertwining depictions of our most important 20th-century female essayists and cultural critics—Susan Sontag, Dorothy Parker, Hannah Arendt, Pauline Kael, Rebecca West, Janet Malcolm, Joan Didion, and others. A hybrid of biography, literary criticism, and cultural history, Sharp has been praised and starred by PW as “stunning and highly accessible introduction to a group of important writers.” (Sonya) How to Write an Autobiographical Novel by Alexander Chee: In addition to receiving a starred review—and being named a Top 10 Essay Collection of Spring 2018—by Publishers Weekly, Chee’s essay collection explores a myriad of topics that include identity, the AIDS crisis, Trump, tarot, bookselling, art, activism, and more. Ocean Vuong described the book as “life's wisdom—its hurts, joys and redemptions—salvaged from a great fire.” (Zoë) Disoriental by Négar Djavadi (translated by Tina Kover): From the waiting room of a French fertility clinic, a young woman revisits the stories of generations of her Iranian ancestors culminating in her parents, who brought her to France when she was 10. This French hit, published in English by Europa Editions, is called "a rich, irreverent, kaleidoscopic novel of real originality and power" by Alexander Maksik. (Lydia) Heads of the Colored People by Nafissa Thompson-Spires: A debut collection of stories exploring black identity and middle-class life in so-called "post-racial" America, with storylines ranging from gun violence and depression to lighter matters like a passive-aggressive fight between the mothers of school kids. George Saunders called these stories "vivid, fast, funny, way-smart, and verbally inventive." (Lydia) Black Swans by Eve Babitz: Until last year, Babitz was an obscure writer who chronicled hedonistic Los Angeles in the 1960s and 1970s. And then Counterpoint and NYRB Classics began reissuing her memoirs and autofiction, and word of Babitz’s unique voice began to spread. In The New Yorker, Jia Tolentino wrote, “On the page, Babitz is pure pleasure—a perpetual-motion machine of no-stakes elation and champagne fizz.” Novelist Catie Disabato asserts that Babitz “isn’t the famous men she fucked or the photographs she posed in. She is the five books of memoir and fiction she left behind for young women, freshly moved to Los Angeles, to find.” Black Swans is the latest in these recent reissues. Published in 1993, these stories/essays cover everything from the AIDS crisis to learning to tango. And, of course, the Chateau Marmont. (Edan) Look Alive Out There by Sloane Crosley: Crosley, author of the New York Times bestselling essay collection I Was Told There’d Be Cake, returns with a new collection of essays. Ten years removed from her debut, Crosley takes on issues ranging from the pressures of fertility, to swingers, to confronting her own fame. Look Alive promises to be a worthwhile follow-up to Crosley’s 2011 collection How Did You Get This Number?. (Ismail) The Only Story by Julian Barnes: Give this to Barnes: the Man Booker laureate’s not afraid of difficult premises. In his 13th novel, a college student named Paul spends a lazy summer at a tennis club, where he meets a middle-aged woman with two daughters around his age. Soon enough, the two are having an affair, and a flash-forward to a much-older Paul makes clear it upended their lives. (Thom) Blue Self-Portrait by Noémi Lefebvre (translated by Sophie Lewis): In this torrential inner monologue out from Oakland publisher Transit Books, a woman reflects on music, politics and her affair with a musician, a pianist obsessed with the 1910 self-portrait painted by Arnold Schoenberg, a haunting, blue-tinted work in which the composer’s“expression promised nothing positive for the art of the future, conveyed an anxiety for the future, looked far beyond any definition of the work of art or of the future.” (Matt) How to Be Safe by Tom McCallister: This novel, by the author of The Young Widower’s Handbook, is billed as We Need to Talk About Kevin meets Dept. of Speculation—those are two of my favorite books! Also? Tom McCallister…is a man! Although high school English teacher Anna Crawford is quickly exonerated after being named a suspect in a campus shooting, she nevertheless suffers intense scrutiny in the wake of the tragedy. As the jacket copy says, “Anna decides to wholeheartedly reject the culpability she’s somehow been assigned, and the rampant sexism that comes with it, both in person and online.” Of the book, novelist Amber Sparks writes, “It’s so wonderful—so furious and so funny and urgent and needed in this mad ugly space we're sharing with each other.” Author Wiley Cash calls McCallister “an exceptionally talented novelist.” (Edan) MAY Warlight by Michael Ondaatje: From internationally acclaimed, bestselling author of The English Patient and Divisidero among his other works, this new novel from Ondaatje is set in the decade after World War II. When their parents move to Singapore, 14-year-old Nathaniel and his older sister, Rachel, are left in London under the watchful eye of a mysterious figure called The Moth. As they become immersed in his eccentric circle of friends, they are both protected and educated in confusing ways. The mystery deepens when their mother returns months later without their father, but gives them no explanation. Years later, Nathaniel begins to uncover the story through a journey of facts, recollection, and imagination. If only Anthony Minghella were still with us to make the movie. (Claire) The Mars Room by Rachel Kushner: In her third novel, two-time National Book Award-finalist Kushner writes about a woman named Romy Hall who is serving two consecutive life sentences (plus six years) in a prison in California’s Central Valley. The year is 2003, and the Mars Room in the title refers to a strip club in San Francisco where Romy used to dance; according to the jacket copy, Kushner details “the deadpan absurdities of institutional living…with humor and precision.” George Saunders calls Kushner “a young master” and Robert Stone wrote that she is “a novelist of the very first order.” Check out this short excerpt published by Entertainment Weekly. (Edan) Some Trick by Helen DeWitt: If you periodically spend afternoons sitting around wondering when you will get to read something new by DeWitt, this is your season. In May we get 13 stories from the brilliant writer who brought us The Last Samurai—one of the best books of this or any millennium—and the evilly good Lightning Rods. In this collection DeWitt will evidently apply her mordant virtuosity to territory ranging from statistics to publishing. (Lydia) Motherhood by Sheila Heti: Heti's previous two books have created and followed lines of inquiry—with Misha Glouberman she wrote a book of conversational philosophy, The Chairs Are Where People Go. Heti’s novel How Should a Person Be? is an early work of autofiction that delves deep into art-making and friendship. Some called it a literary form of reality TV, making James Wood’s backhanded assessment of the book as both “unpretentious" and “narcissistic" quite the unintentional compliment. Heti's new novel Motherhood follows in a similar line of existential questioning—the narrator approaches the topic of motherhood, asking not when but if she should endeavor to become a mother at all. (Anne) That Kind of Mother by Rumaan Alam: “Just because something is natural doesn’t mean it’s easy.” Priscilla Johnson says those words to Rebecca Stone early in Alam’s novel. Rebecca’s just given birth to her son Jacob, and the novel’s first scene feels both dizzying and precise—a visceral reminder of life’s complex surprises. Priscilla is the hospital staffer who most calms Rebecca’s anxieties, so much that she asks Priscilla to be Jacob’s nanny. A few years later, Priscilla’s own pregnancy ends in heartbreak. Rebecca’s decision to adopt Andrew is complex: she loves and misses Priscilla, and dearly loves this boy, but is she ready for the reality of raising a black son as a white mother? Alam’s sharp narrative asides—lines like “Some percentage of the things she did for the children were actually for her”—carry such weight and truth that we trust his route toward the bigger question of the book: are we ever ready for the pain and joy that life delivers us? (Nick R.) Adjustment Day by Chuck Palahniuk: Four years since publishing his last novel, Palahniuk returns in the era of fake news, obvious government corruption, and widespread despair. (It’s as though the protagonists in his most famous novels were right from the start.) In Adjustment Day, these themes weave together in the form of a mysterious day of reckoning orchestrated by an out of touch, aging group of elected officials. (Nick M.) Last Stories by William Trevor: Prior to his death in November 2016, Trevor told a friend that the book he was working on would be called Last Stories. That is this book—the last we will ever have from the Irish author. Six of the 10 stories included here have never been published before, and what preview would be sufficient? Perhaps just this: if the engine of accomplished fiction truly is empathy, then you will be hard pressed to uncover a finer practitioner of the core humanity that inspired and inspires this deliberate, and personal, epitaph. RIP. (Il’ja) MEM by Bethany Morrow In this debut novel set in a speculative past, a Montreal-based scientist discovers a way to extract memories from people, resulting in physical beings, Mems, who are forced to experience the same memory over and over. Complications ensue when one of the Mems, Dolores Extract #1, begins to make and form her own memories. (Hannah) And Now We Have Everything by Meaghan O’Connell: O’Connell’s memoir—her first book—is here to remedy the “nobody tells you what it’s really like” refrain of new mothers. Giving birth to her son in her 20s, after an unplanned pregnancy, O’Connell chronicles the seismic changes that happened to her body, routine, social life, and existential purpose before she knew what was coming. All the cool moms of literary twitter (including Edan!) are raving. (Janet) The Ensemble by Aja Gabel: A novel about art and friendship and the fraught world of accomplished musicians—four young friends who comprise a string quartet. Mat Johnson said Gabel's novel "deserves a standing ovation." For a taste of Gabel's prose, read her Best American Essays-notable piece on grief and eating ortolans in France. (Lydia) The Lost Empress by Sergio De La Pava: De La Pava’s first novel, A Naked Singularity, was the rare self-published novel to receive critical acclaim, including the PEN/Bingham Prize. The Lost Empress is as ambitious as his first, a 672-page doorstopper that takes on both football and the criminal justice system. The novel has a large cast, but centers on two characters: Nina Gill, the daughter of the owner of the Dallas Cowboys, and presumed heir to the franchise; and Nuno DeAngeles, “a brilliant criminal mastermind,” who gets himself thrown into prison in order to commit a crime. (Hannah) A Lucky Man by Jamel Brinkley: New York-bred writer Brinkley (and Year in Reading alum) delivers this anticipated debut story collection. Ranging from encounters on the New York subway to a young boy’s first encounter with the reality of racial hierarchy, these sensitive and probing stories promise to captivate. If you’ve read Brinkley’s title story “A Lucky Man” in A Public Space, then you know that he’s a talent to watch. (Ismail) Belly Up by Rita Bullwinkel: Bullwinkel’s stories are fantastic and fabulist feats that (often) address our messy, cumbersome bodies in thrilling and imaginative ways. For example: in lieu of a bra, a man is hired to support a daughter's breasts; a woman whose plastic surgeon, when fixing her eyes, leaves her with a turkey neck (not literally but); twin brothers Gleb and Oleg, surgeon and sculptor, live in a prison infirmary and perform a thumb transplant. A compelling new voice, Bullwinkel has had stories in Tin House, Guernica, and Noon. Her first book, the story collection Belly Up, will be published by A Strange Object. (Anne) The Pisces by Melissa Broder: You may know Broder because of her incredible So Sad Today tweets. If you do, you won’t be surprised to hear about her novel, The Pisces, which follows a Ph.D student in love with a Californian merman. The student, Lucy, has a breakdown after nine years of grad school, which compels her Angeleno sister to invite her to dogsit at her place. On the beach, a merman appears, and Lucy embarks on a romance that seems impossible. (Thom) JUNE Kudos by Rachel Cusk: When I first encountered Cusk's writing in the mid-aughts I wrote her off as an author of potentially tedious domestic drama. I was woefully wrong. It's true Cusk is a chronicler of the domestic: she is as known for her memoirs of motherhood and divorce as she is for her novels, but her writing is innovative, observant, and bold. The New Yorker declared that with the trilogy that her latest novel Kudos completes, Cusk has "renovated" the novel, merging fiction with oral history, retooling its structure. Cusk has said: "I’ve never treated fiction as a veil or as a thing to hide behind, which perhaps was, not a mistake exactly, but a sort of risky way to live." (Anne) A Suitable Girl by Vikram Seth: Reportedly delayed by writer’s block brought on by a breakup, Seth has finally produced the much-anticipated sequel to his international smash of 1993, A Suitable Boy. That novel, a gargantuan epic set in post-independence India in the 1950s, was a multi-family saga built around the pursuit of a suitable husband in a world of arranged marriages. In the “jump sequel,” the original protagonist is now in her 80s and on the prowl for a worthy bride for her favorite grandson. Though best-known for A Suitable Boy, the versatile Seth has produced novels, poetry, opera, a verse novel, a travel book, and a memoir. (Bill) Florida by Lauren Groff: After collecting fans like Barack Obama with her bestselling novel Fates and Furies, Groff's next book is a collection of short stories that center around Florida, "the landscape, climate, history, and state of mind." Included is "Dogs Go Wolf," the haunting story that appeared in The New Yorker earlier in the year. In a recent interview, Groff gave us the lay of the land: "The collection is a portrait of my own incredible ambivalence about the state where I've lived for twelve years...I love the disappearing natural world, the sunshine, the extraordinary and astonishing beauty of the place as passionately as I hate the heat and moisture and backward politics and the million creatures whose only wish is to kill you." (Claire) There There by Tommy Orange: Set in Oakland, Orange's novel describes the disparate lives that come together for the Oakland Powwow and what happens to them when they get there. In an extraordinary endorsement, Sherman Alexie writes that Orange's novel "is truly the first book to capture what it means to be an urban Indian—perhaps the first novel ever to celebrate and honor and elevate the joys and losses of urban Indians. You might think I'm exaggerating but this book is so revolutionary—evolutionary—that Native American literature will never be the same." (Lydia) Upstate by James Wood: It’s been 15 years since Woods’s first novel, The Book Against God, was published. What was Woods doing in the meantime? Oh, just influencing a generation of novelists from his perch at The New Yorker, where his dissecting reviews also functioned as miniature writing seminars. He also penned a writing manual, How Fiction Works. His sophomore effort concerns the Querry family, who reunite in upstate New York to help a family member cope with depression and to pose the kinds of questions fiction answers best: How do people get through difficulty? What does it mean to be happy? How should we live our lives? (Hannah) The Great Believers by Rebecca Makkai: This third novel from the acclaimed author of The Borrower and The Hundred-Year House interlaces the story of an art gallery director whose friends are succumbing to the AIDS epidemic in 1980s Chicago with a mother struggling to find her estranged daughter 30 years later in contemporary Paris. “The Great Believers is by turns funny, harrowing, tender, devastating, and always hugely suspenseful,” says Margot Livesey, author of Mercury. (Michael) Good Trouble by Joseph O’Neill: Frequent New Yorker and Harper’s readers will know that O’Neill has been writing a lot of short fiction lately. With the new Good Trouble, the Netherland author now has a full collection, comprised of 11 off-kilter, unsettling stories. Their characters range from a would-be renter in New York who can’t get anyone to give him a reference to a poet who can’t decide whether or not to sign a petition. (Thom) Number One Chinese Restaurant by Lillian Li: A family chronicle, workplace drama, and love story rolled into one, Li's debut chronicles the universe of the Beijing Duck House restaurant of Rockville, Md., run by a family and long-time employees who intertwine in various ways when disaster strikes. Lorrie Moore raves, "her narratives are complex, mysterious, moving, and surprising." (Lydia) SICK by Porochista Khakpour: In her much anticipated memoir SICK, Khakpour chronicles her arduous experience with illness, specifically late-stage Lyme disease. She examines her efforts to receive a diagnosis and the psychological and physiological impact of being so sick for so long, including struggles with mental health and addiction. Khakpour’s memoir demonstrates the power of survival in the midst of pain and uncertainty. (Zoë) Fight No More by Lydia Millet: Millet’s 2010 collection Love in Infant Monkeys was a Pulitzer Prize finalist. Eight years later she’s released another collection of stories arranged around a real estate broker and their family as they struggle to reconnect. Millet’s satire is well-known for it’s sharp brutality—and its compassionate humanity. Both sides are on full display here. (Kaulie) Tonight I'm Someone Else by Chelsea Hodson: Examining the intersection of social media and intimacy, the commercial and the corporeal, the theme of Hodson's essay collection is how we are pushed and pulled by our desire. The Catapult teacher's debut has been called "racingly good…refreshing and welcome" by Maggie Nelson. (Tess) Invitation to a Bonfire by Adrienne Celt: On the heels of her critically praised debut, The Daughters, Celt gives us a love-triangle story that, according to the publisher, is “inspired by the infamous Nabokov marriage, with a spellbinding psychological thriller at its core.” The protagonist is a young Russian refugee named Zoya who becomes entangled with her boarding school’s visiting writer, Leo Orlov, and his imperious wife, Vera. Our own Edan Lepucki praised the novel as “a sexy, brilliant, and gripping novel about the fine line between passion and obsession. I am in awe of Celt's mastery as a prose stylist and storyteller; I can't stop thinking about this amazing book.” (Sonya) [millions_ad]
For me, there are two types of reading urges: the impulse to read the mirror of your life, and impulse to forget your life by reading yourself out of it. This year I was lucky enough to read a book that did both. George Saunders’s Lincoln in the Bardo may be a play about ghosts with an undead president, a spectre with a giant erect penis on display, and enough puns to light up the night sky, but it’s anything but slapstick. This is everything humor can and should be: the mirror, the escape, the heartbreaker and the thing that makes you shout “Ha!” on public transportation. (No one even turned around, but that’s the San Francisco BART for you.) Lincoln in the Bardo is as close to a perfect book as I can imagine. I have now read it about five times, which either says something bad about me or great about this book. I also read two phenomenal story collections this year. Both were in the “mirror of your life” category—though often a kind of fun-house mirror. First, I re-read Katie Chase’s Man and Wife. Sometimes I lie awake thinking about these stories. They’re not just about what it means to have a female body in this world, but about female consciousness, female expectations, and female desires. And Katie does it all with a dry wit and beautiful concision that will make you wish you wrote this collection. I also read Katherine Heiny’s Single, Carefree, Mellow. Fiction is so often complimented for being unsentimental, but this collection leaps into sex, disgust, desire, and betrayal as though it were a ball pit full of M&Ms. If you’re ready to escape your life, I highly recommend two very different novels: Jeff VanderMeer’s Borne, and Jennifer Egan’s Manhattan Beach. Borne takes you into a post-apocalyptic world where the protagonist questions every step she takes—but not the existence and good will of an otherworldly, amorphous being. Totally creative, weird, funny, and suspenseful—I didn’t think one time about my looming deadlines or the contents of my child’s lunchbox. Manhattan Beach, like all of Jennifer Egan’s work, was researched and executed so beautifully that the absorption is total. Not a detail out of place to make you think you aren’t really on the dock of a '40s shipyard with a sick sister at home and a mysteriously missing father. More from A Year in Reading 2017 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 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
Something more than serendipity was afoot when I entered my neighborhood’s pie-eating contest this year. It was a warm, sunny morning so I hoofed it a few blocks from my house to the bakery, signed up for the day’s contest, and returned home to kill four hours before it began. I was sitting on my porch, having just cracked open Thomas McGuane’s Ninety-two in the Shade, which I’d plucked at random from my bookshelf of Florida writing. (You may have read about my “thing” with the Sunshine State…) Not long after, I got to a scene in which, you guessed it, contestants eat a bunch of pies, hoping to win a fishing trip: Before he was really prepared for the event, it was upon him. Abruptly, uniformed men from the truck were trooping to the tables, tall piles of stacked pies in their hands. By the time the pies were emplaced, with the flavor choices of the contestants honored, the judges had raised their pistols. Then the guns were fired and all twenty lashed into the pies; a moment later and the slowest contestants had eaten five; and in another moment, the first vomiter rose, the gelatinous, undigested cherries of her 'flavor option' dribbling down her chest. And very quickly it was over. Losers were roughly hustled away from the table and the redhead was left alone. He looked around himself in happy disbelief for the brief remaining moment before he was declared the winner. Then all hesitation vanishing, he rose powerfully, baying his triumph in an impressive hurricane of crumbs, the insect jaws agape. When Nichol Dance gave him his certificate, he said, 'Boy, fishing is all I'm about! I'm the mother dog of all fishermen and I want to go out with you real bad--' With the word 'bad' he began to vomit all over himself. And Dance went off in a panic, saying, “Well, I'll look to hear from you down to the dock. I hope you're feeling better!” I took it as a sign. This contest was mine to win. A year earlier, I’d taken third. The man who won was wearing a full arm cast—the type in which your arm is bent at a 90 degree angle, and a stick holds it out from your waist—so he quite literally beat all of us with one hand tied behind his back. I couldn’t suffer the same indignity twice. Reader, I suffered the same indignity twice. In fact, I did even worse, placing fourth after the same two gluttons who beat me last time, and after the guy who took first, who apparently had won in 2015, took 2016 off, and chose 2017 as the year he’d reclaim his title. The experience shaded my entire year in reading, however. From that moment on, whenever I read anything, I couldn’t shake the feeling that what I read would foretell or signal some immediate development in my actual life. This quickly became more than a little scary. I read Mathias Svalina’s The Wine-Dark Sea and worried, am I growing depressed? I read Stephen King’s It and avoided sewer grates as a precaution. (I am not taking a bath any time soon.) I unplugged so many electronics after I read (and reviewed!) Alissa Nutting’s Made for Love. Why risk it? Did that lamp just move? I wondered after reading Jeff VanderMeer’s Borne. While traveling to a friend’s wedding in Montana, I read Stephen Ambrose’s Undaunted Courage, which is a riveting narrative of Meriwether Lewis’s westward exploration. Somewhere in Wyoming, I read the chapter about the men wintering in South Dakota which opens with this line, and I grew terrified until I realized it was summer, and things were warm: It was always cold, often brutally cold, sometimes so cold a man's penis would freeze if he wasn't quick about it. It didn’t matter that after the pie-eating contest, there had been no instances in which my reading leapt off the page into my corporeal reality. The feeling endured regardless. Then again, in addition to the times when the effect was frightening, there were also moments in which it was aspirational. Maybe I wanted it to happen again. The whole time I read Fire in the Hole, I was waiting for a whiskey glass to appear in my hand. Ditto for Hard Rain Falling. I expected chicken wings to manifest when I read Scott McClanahan’s The Sarah Book. Alas, none of that came to be. Over time, the feeling’s faded. Recently I read (and reviewed!) Hotel Scarface and I didn’t worry about the FBI wiretapping me once. More from A Year in Reading 2017 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 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
I’ve read some stunning short story collections in 2017: Bennett Sims’s cerebral, unsettling White Dialogues; Jenny Zhang’s lush and visceral Sour Heart; Lesley Nneka Arimah’s liminal, searing What It Means When a Man Falls from the Sky; and Amy Parker’s beautiful and devastating Beasts and Children. The novels that took off the top of my head were Andrea Lawlor’s sexy, picaresque Paul Takes the Form of a Mortal Girl: Alissa Nutting’s hilarious Made for Love; Kathryn Davis’s uncategorizable Duplex; and Jeff VanderMeer’s inventive, disconcerting Borne. I didn’t have a lot of bandwidth for nonfiction, but when I did, I was unmade by Roxane Gay’s heartbreaking memoir Hunger; Samantha Irby’s tremendously funny essay collection We Are Never Meeting in Real Life; and Brian Blanchfield’s brilliant, singular Proxies. [millions_ad] I’ve also gotten a sneak peek at a couple of unreleased books I can’t wait for: Rebekah Frumkin’s The Comedown, Mark Mayer’s Aerialists, and Mallory Ortberg’s The Merry Spinster. 2018 can’t come soon enough. More from A Year in Reading 2017 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 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
This last year has left me so depleted and on the cusp of despair, because TRUMP of course, because death culture, because planet and existence ending policies. And yet I have been astonished. Up against the gloom and grind of current events voices have emerged, and with those voices body stories, singing up and through the horror. These are the books that left me breathless and alive, reminding me that we must endure, go on, spend every last bit of energy working against the grain of forces that might silence us. Sing, Unburied, Sing by Jesmyn Ward: A story that breaks down what we mean when we say family, father, mother, self, and reconstitutes it by illuminating the cracks and fissures that will either break us or lead us to light. Hunger by Roxane Gay: This is a profound body story speaking back to a culture that would disappear that body. If we have hearts left at all, this book is heartspeak, an opportunity to remember how to love into the otherness rather than judge difference as if we have ever had that right. A triumph of a book and a body. Her Body and Other Parties by Carmen Maria Machado: WHAT a genre busting burst of brilliance! Restored my faith not only in the short story, but also my delight in those writers (nearly always women, writers of color, or LGBTQ writers) willing to risk everything formally on the page. I am on the sidelines cheering with abandon. [millions_ad] What Belongs to You by Garth Greenwell: I read this book when it first emerged and I will keep reading it every year of my life. It is a secular desire bible. It is desire alive. The Vegetarian and Human Acts, both by Han Kang: I devoured both of these books and then devoured them again. Both contain a raw and riveting helix made from the fantastic threaded through raw reality, with the body as a site of resistance. American War by Omar El Akkad: A splicing and remixing of culture that dislocates "America" from her supposed moorings, themselves constructed fictions. Borne by Jeff VanderMeer: Holy mother of dirt and animals—this book pitches us into a future that is technically already present, and restates our fears and desires inside giant floating bears and beings made from everything about us. Heart Berries by Terese Mailhot: Stories that untell the dominant culture's cover story from the point of view of a First Nation Woman. Absolutely astonishing in its wrestling of hustle and heart. More from A Year in Reading 2017 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 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
Over the last 13 years, the Year in Reading has collected the book recommendations and musings of some of the most brilliant readers and writers working today. Looking at the series over time it becomes an instrument of measurement, not only for tracking the way the site itself has grown and evolved, but for recording the big books of the moment, or the books of yesteryear that readers never tire of discovering anew. It can also capture--in a glancing, kaleidoscopic way--the general mood of the professional reading public. The 2016 Year in Reading was in some respects pretty grim, as contributors tried to reconcile reading, at its heart an intensely private, personal passion, with the requirements of being human in a world where bad things persist in happening. This year I'd like to focus on the good things. The Year in Reading is my favorite thing we do at this site, and I'm so grateful for the writers who gave generously of their time to participate. I'm grateful for the dedicated readers who navigate here every morning and give the site a reason to live, and for the supporters who are helping us secure the future. This is our 14th year, and 14 years is an eon in Internet Time. The Millions won't survive the heat death of the universe, but it has already stuck around longer than at least some bad things will. A lot of our 2017 Year in Reading contributors were anxious and tired and read less than they would have liked. The good news is that they still did a lot of excellent, engaged reading. The good news is that there are more exquisite and important things to read than you'll ever read in your lifetime. The good news is that books are still the vehicles for inquiry, revelation, devastation, and joy that they have always been. The names of our 2017 contributors will be unveiled throughout the month as entries are published (starting with our traditional opener from Languagehat’s Stephen Dodson later this morning). Bookmark this post, load up the main page, subscribe to our RSS feed, or follow us on Facebook or Twitter to make sure you don’t miss an entry — we’ll run three or four per day. And if you look forward to the Year in Reading every year, please consider supporting the site and ensuring this December tradition continues for years to come. -Lydia Kiesling 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. Stephen Dodson, co-author of Uglier Than a Monkey’s Armpit, proprietor of Languagehat. Tayari Jones, author of An American Marriage. Eugene Lim, author of Dear Cyborgs. Edan Lepucki, contributing editor and author of Woman No. 17. Sonya Chung, contributing editor and author of The Loved Ones. Emily St. John Mandel, staff writer and author of Station Eleven. Nick Ripatrazone, contributing editor and author of Ember Days. Garth Risk Hallberg, contributing editor and author of City on Fire. Janet Potter, staff writer. Louise Erdrich, author of LaRose. Ahmed Saadawi, author of Frankenstein in Baghdad. Jesmyn Ward, author of Sing, Unburied, Sing. Jeff VanderMeer, author of Borne. Lidia Yuknavitch, author of The Book of Joan. Garth Greenwell, author of What Belongs to You. Carmen Maria Machado, author of Her Body and Other Parties. Kevin Young, author of Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News. Yoko Tawada, author of Memoirs of a Polar Bear. Danzy Senna, author of New People. Jenny Zhang is a poet and writer. Matthew Klam, author of Who Is Rich. Paul Yoon, author of The Mountain. Julie Buntin, author of Marlena. Brandon Taylor, associate editor of Electric Literature’s Recommended Reading and staff writer at Literary Hub. Hannah Gersen, staff writer and author of Home Field. Matt Seidel, staff writer. Zoë Ruiz, staff writer. Clare Cameron, staff writer and author of The Last Neanderthal. Il’ja Rákoš, staff writer. Ismail Muhammad, staff writer. Thomas Beckwith, staff writer. Michael Pollan, author of Cooked: A Natural History of Transformation. Jeff Chang, author of Can't Stop, Won't Stop. Robin Sloan, author of Sourdough. Juan Villoro, author of The Reef. Chiwan Choi, author of The Yellow House. Scaachi Koul, author of One Day We'll All Be Dead And None Of This Will Matter. Gabe Habash, author of Stephen Florida. Ayobami Adebayo, author of Stay with Me. Kaveh Akbar, author of Calling a Wolf a Wolf. Kima Jones, founder of Jack Jones Literary Arts. Vanessa Hua, author of A River of Stars. Hamilton Leithauser, rock star. R.O. Kwon, author of The Incendiaries. Rakesh Satyal, author of No One Can Pronounce My Name. Kristen Radtke, author of Imagine Wanting Only This. Nick Moran, staff writer. Lydia Kiesling, site editor and author of The Golden State. Anne Yoder, staff writer. Michael Bourne, staff writer. Tess Malone, associate editor. Bill Morris, staff writer and author of Motor City Burning. Kaulie Lewis, staff writer. Myriam Gurba, author of Mean. Patrick Nathan, author of Some Hell. Morgan Jerkins, author of This Will Be My Undoing. Michael David Lukas, author of The Last Watchman of Old Cairo. Jamel Brinkley, author of A Lucky Man. Shanthi Sekaran, author of Lucky Boy. Kara Levy, fiction writer. Patty Yumi Cottrell, author of Sorry to Disrupt the Peace. Heather Scott Partington, NBCC emerging critic. Paul Goldberg, author of The Yid. Simeon Marsalis, author of A Lie is To Grin. Kevin Barry, author of Beatlebone. Laura Turner, writer. Sarah Smarsh, journalist. Kyle Chayka, writer. A Year in Reading: Outro Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
Along the way, as I was helicoptered off Algonquin Mountain, wheeled into the Lake Placid ER, then driven by ambulance to Saranac Lake ER and wheeled into midnight surgery, the forest rangers, the nurses, the EMTs and doctors would ask what I did for a living. When I explained I was a writer, the response was often how at least I’ll be able to write about all this when it’s over. I certainly played the part of WRITER, reminding my husband again and again, when I was sprawled out on the trail and waiting to be rescued, to make sure my little green notebook and my pen went with me when I was helicoptered out. I kept this notebook beside me at all times, except for the surgery that would insert a metal rod and screws into my leg and ankle. I planned on recording my observations, the odd angles and discolorations of my leg, the various textures of pain, the bright personalities of the nurses, the sounds from the other hospital rooms, the kindnesses. But here’s a confession: I barely used that notebook. I have three measly pages to cover my first week of injury. My writer self, a previously eager observer of my life’s lows, appeared to be asleep or absent, cowering off in some corner of my mind. I’m still trying to understand why. Despite my lackluster notetaking, I can remember certain moments if I try. My nails digging into my husband’s arm and leaving marks. A stranger covering me with his rain jacket. How I couldn’t stop shaking. The helicopter circling over us, needing to burn off fuel, while the trees around us trembled and blew as if in a storm. I remember asking my husband to shoot me. I remember rising above the trees while strapped into a harness, and suddenly there was so much light from the setting sun. I intended to wave goodbye to my children but I was spinning the wrong way. But there are other moments that I can’t access. In particular, the time between when I was walking down a trail beside some rocks, not even a steep part, and I noticed a man to my lower left, and I was thinking, I do not feel like saying hello to this man, as I was tired of greeting people—then, somehow, I was on my back, and this kind man, the one I didn’t want to greet, was crouched next to me, explaining I’ve been hurt. That I was really hurt. I glanced at my leg, bent in angles that should have been impossible. Then I closed my eyes. Between those two moments, there is nothing. I want to know what my body was doing during that nothing time. More accurately, I want to be able to describe what my body was doing and what I was thinking and feeling. I wish someone was taking a video so I could see myself fall. It’s strange, as a writer, disorienting, to have moments, no matter how brief, unavailable to me. Did I slip? Stumble? Push myself off the rocks? Twist? Flail? Leap? Scream? Cry out? (Apparently the brain stops recording memories during traumatic events, focusing its resources instead on survival, due to increased adrenaline and noradrenaline production, says Scientific American.) I’m glad, of course, my brain stayed focused and I survived. But I still wish my writing self could have been an observer, just as I wish that same self could have been more present during the times of intense pain. When, for instance, the forest ranger was preparing to splint my leg without pain meds while my tibia was almost pushing through my skin. I needed to be splinted before I could be lifted up to the helicopter. “Ready?” the ranger asked. A quiet voice in my head was telling me to pay careful attention, but the voice was so muted, and then I began screaming, as the pain went beyond what was bearable. I went elsewhere, to a place I may never be able to describe, and there is some disappointment about visiting a place, however bleak, where there aren’t words. I am trying to write about my experience three months after the accident. One problem I keep encountering is the fact this was an accident, an awful twist of fate. I write awful but another problem is it wasn’t that bad, not when put into the context of greater suffering in the world. Yes, I felt intense pain while waiting for the helicopter. Yes, the waiting felt infinite but actually it was 2 hours. Yes, the splinting was intolerable, but that lasted no more than a minute. After that, I was rescued, saved, medicated, taken care of. My hospital room had a lakeside view with a loon! I know people have felt much worse, and been more frightened, for much longer. I know some people are never rescued. How can one’s pain be made more interesting? More complex? More relevant? Must pain be complex or interesting or relevant to warrant writing about? How does one write about a violence that has no perpetrator, no blame? Were I assaulted on the mountaintop, had someone thrown me down those rocks, there would be a villain, and presumably a motive, and therefore there would have been a clearer story to tell. But what happened was the trail was slippery, and I slipped. I can’t even blame my boots. I checked them later on. The treads were fine. Everybody was falling that day, my husband has reminded me. He fell moments before I did. A woman fell moments before him, slicing open her arm. At times, it seems I could sum up my accident in a sentence or two. Yet I can’t shake this need to continue writing about it. [millions_ad] The accident happened at the start of an annual family vacation. I was in no shape to drive home, so my initial two weeks of recovery were spent in the Adirondacks, on various beds and scenic benches. I expected I would get much reading and writing done. A mini-writing retreat, I thought! How nice. I made my husband download the stories I was working on to a laptop using the hospital Wi-Fi. I stocked my Kindle with non-fiction I had meant to read months ago. I had my pile of articles about global warming, police surveillance, that sort of thing. But even with time stretching in the way it does in hospitals—eternity was available, nothing was expected of me—any writerly impulse quickly evaporated. Reading non-fiction put me to sleep. Not a deep sleep, but a sleep lasting for only a few minutes. I’d wake up and doggedly read a few more paragraphs before nodding off. My folder of articles lay untouched on my bed. My notebook lay beside me. The laptop remained unopened. I stared at the wall more than I thought possible, the pain meds keeping boredom away. When a volunteer wheeled in what she called her “comfort cart,” I eagerly grabbed for the easy escape of People magazine. Perhaps it’s silly, after an injury, to become frustrated with one’s self for a lack of artistic interest in one’s situation. Perhaps the situation was simply not that interesting. Perhaps it’s okay I found more engagement with the amount of calories a celebrity consumes in a day. But I think there was something more going on, a collection of evidence, or a sinking feeling. The first book I was able to latch onto in the hospital was Cormac McCarthy’s The Road. It’s a novel I come back to every year or two. I read it before I had my first child and thought, well this is rather showy and dramatic, isn’t it. After the birth of my first child, I read it again and wept. I don’t cry anymore at the ending, but I do find solace in its portrayal of an effective parental love and a useful suffering. The dad does manage to save his child in the end, after all. In the hospital setting, I found this novel’s bleakness to be reassuring, its descriptions of the decimated, impersonal, and brutal wilderness to be more accurate than the romantic description of trees I’ve encountered elsewhere. I would read the book, fall asleep several pages in, then wake and read more, and fall asleep, and cry because my leg hurt so much, take the pain meds, and read more. Read in this fragmented way, certain scenes stretched on practically forever. I think the father swimming out to the ship went on for most of one night. I must have reread certain parts, and I was reading so slowly. But I feel like this particular reading of the book was my truest reading, the most accurate. Perhaps suffering, no matter how pointless such suffering is, is the best state of mind when reading a book about suffering. I found solace in the idea that suffering can have a purpose, a goal. Even my suffering, I wondered? A purpose larger than the personal, I wondered? I carried my notebook with me everywhere while I used crutches. I carried it to a second visit to the Saranac Lake ER because my leg had turned a deep rich blue and swelled to an obscene size. “I’m turning into a blueberry. Like Violet Beauregarde!” I told my daughter, who patted me with alarm. I rarely wrote in the notebook. I just carried it, occasionally jotting down commandments from my doctors. Elevate. Ice. Rest. I took the notebook to the final appointment with my surgeon, whom I had fallen in love with. I say this in the most sincere, non-creepy way possible: here was a man who had put my leg back together. A man who had smiled at me with such kindness before the surgery, when I was very frightened, and afterwards, who moved my bandaged leg with great pride. It was like we had created something together. “Look at that!” he said with a little awe, moving my leg up and down. I don’t know how people cannot fall in love with their surgeons. I suppose there is a story waiting somewhere in that proclamation. My writer self eventually did wake up. Proudly, now, it waves around its updated list of things it can write about more accurately and personally: a mountain injury! A helicopter rescue! An ambulance ride! Being wheeled into a frigid operating room and hearing Pink Floyd! Going under for surgery! Metal implants in one’s leg! Becoming hysterical from pain while one’s children watched. The queasy loneliness of a hospital room at night. I could turn it all into a story, adding some kind of tension, or forcing something more to happen. Give the injured wife and her husband a history, perhaps a violent history. Or maybe the child could be the one injured, and the mother would have to watch her child in pain rather than watching her own pain. But part of me has become bored with reshaping the details of my life into a narrative with an exciting enough plot that also satisfies a need for completion and revelation by the story’s end. Part of me wants this experience to be enough as it was. I will get back almost everything that I lost. I’ll be able to walk without a limp. At some point, I should be able to run. My family will go back to the mountains and have a proper vacation. And there have been little gifts along the way. Reading returned to me in a fury once I went off opioids at the end of week two. When was the last time I had so much space to read since I was a child? The Executioner’s Song, Borne, Fever Dream, The Book of Joan, Lincoln in the Bardo, The Handmaid’s Tale, Against Depression. I had love affairs with each of these books. I read gratefully, whole-heartedly, without distraction, as I had nothing else I could do. I read through my insomnia, and I read while my leg was elevated and iced, and I read while doing my physical therapy exercises every three hours, and I read to my children while I rested, and I listened to the books as I hobbled around the block. What I won’t get back are those moments I can’t remember, the falling, the pain. Those are the parts, if I do tell this story someday in its completion, I will have to make up. Here are some of the ways my accident changed me. I will hike less joyfully next summer. I will hesitate on rocky trails. I will bring an emergency beacon and consider trip insurance with helicopter evacuation coverage. I may stop below the ridges of mountains rather than climb. I have lost my certainty that hiking up mountains has a point. What is the point? Gazing at them from a distance might be enough. I hope environmental descriptions in my writing will gain some kind of brutality, that I will say no to romanticism when it suggests itself, especially when the sun is setting on a scene. Because the mountain stood there while I screamed. Of course it did. And then my family, my husband and children, had to climb down it in the dark. Did I ever think nature had a heart? Yes, I suppose I did. Maybe this is the real loss or revelation. We talk so much about trying to save the natural world as if it is a living breathing person. It’s not. It’s still worth saving, but not because of its kindness. Photo courtesy of the author.
"Getting too quickly to where you want to go, getting there too smoothly, is antithetical to thinking through complex issues. You want roadblocks, confusion, chaos, and doubt. Unexpected, wonderful things come out of this approach." Jeff VanderMeer provides a master class for Publisher's Weekly on novel revision, explaining in five steps how his new book Borne arrived at its final incarnation. And for more shop talk, see VanderMeer's interview with The Kills author Richard House from our own pages a couple of years back.
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. For more April titles, check out the Great First-Half 2017 Preview, and let us know what you're looking forward to in the comments. Anything Is Possible by Elizabeth Strout: “As I was writing My Name Is Lucy Barton,” said Strout, the New York Times bestselling author and Pulitzer Prize winner, of her 2016 novel, “it came to me that all the characters Lucy and her mother talked about had their own stories.” Anything is Possible was written in tandem to Lucy Barton. For Strout’s many devoted readers, this novel promises to expand on and add depth to the story, while exploring themes for love, loss, and hope in a work that, “recalls Olive Kitteridge in its richness, structure, and complexity.” (Claire) Marlena by Julie Buntin: I was lucky enough to read an advance copy of Buntin’s remarkable debut novel, about an intense friendship between two young women in rural Michigan, and I agree with Stephanie Danler, author of Sweetbitter, who calls it “lacerating.” Aside from a riveting story and nuanced characters, Buntin has also delivered an important story about addiction and poverty in middle America. In its starred review, Booklist called it “Ferrante-esque.” (Edan) American War by Omar El Akkad: El Akkad is an award-winning Canadian journalist, whose reporting has ranged from the war in Afghanistan to the protests in Ferguson, Mo. His brilliant and supremely disquieting debut novel opens in 2074, at the outbreak of the Second American Civil War, and follows a young Louisiana girl, Sarat Chestnut, as time and conflict gradually transform her from a child into a weapon. (Emily) The Last Neanderthal by Claire Cameron: Our own Cameron returns with a new novel about two women separated by, oh, only 40,000 years: Girl, the eldest daughter in the last family of Neanderthals, and present-day archeologist Rosamund Gale, who is excavating Neanderthal ruins while pregnant. How these two stories echo and resonate with one another will be just one of its delights. Such an ingenious premise could only come from the writer who brought us The Bear, which O, The Oprah Magazine deemed “a tender, terrifying, poignant ride” and which People gave 4 stars, saying “it could do for camping what Jaws did for swimming.” (Edan) No One Is Coming to Save Us by Stephanie Powell Watts: A novel about a black family in North Carolina dealing with economic decline, outsourcing, and the legacy of Jim Crow. Watts's debut has been pitched as a contemporary retelling of The Great Gatsby, but Ron Charles writes in the The Washington Post that Watts hasn't done merely another reboot; she has written a "sonorous, complex novel that’s entirely her own." (Lydia) A Little More Human by Fiona Maazel: A new novel from the author of Woke Up Lonely, Maazel's latest is a superhero story about a mild-mannered mind-reader slash nursing assistant from Staten Island dealing with personal and professional strife. It sounds as though Maazel has rifled deftly through genres to create something in a class entirely by itself. (Lydia) Borne by Jeff VanderMeer: A much-awaited new offering from the author of the breakout hit Southern Reach trilogy (the first volume of which will be a movie later this year). The titular Borne is a small, living "green lump" adopted by a lonely young woman living in a post-apocalyptic city plagued by a roving bear and hazardous waste. Colson Whitehead calls Borne "a thorough marvel." (Lydia) The Book of Joan by Lidia Yuknavitch: In a new kind of world, we need a new kind of hero and a reimagined Joan of Arc from Yuknavitch seems like just the thing. Following her widely lauded The Small Backs of Children, this novel takes place in the near future after world wars have turned the Earth into a war zone. Those surviving are sexless, hairless, pale-white creatures who write stories on their skin, but a group of rebels rally behind a cult leader named Jean de Men. Roxane Gay calls it, “a searing condemnation, and fiercely imaginative retelling.” (Claire) The Woman Who Had Two Navels and Tales of the Tropical Gothic by Nick Joaquin: The first U.S. appearance of one of the Philippines' most distinguished writers, pegged to the centenary of his birth. Joaquin, who died in 2004, wrote in English and set much of his work -- which included two novels and several collections of short stories in addition to essays, plays, and criticism -- in post-WWII Manila, exploring themes of colonialism and liberation, Catholicism and folklore. An exciting introduction for uninitiated American readers into Joaquin's oeuvre. (Lydia) What It Means When a Man Falls from the Sky by Lesley Nneka Arimah: This debut collection of short stories, which takes its name from a story published in Catapult in 2015 to wide acclaim — one that seamlessly blends magical realism and a kind of sci-fi, resulting in a one-of-a-kind dystopia — announces the arrival of a brilliant new talent. Don’t take our word for it: one story, “Who Will Greet You at Home,” appeared in The New Yorker and was a National Magazine Award finalist, and others are already drawing high praise from across the publishing community. These stories explore the ties that bind us together, but in magical, even subversive forms. (Kaulie) Such Small Hands by Andrés Barba: The first offering from a new, Oakland-based, translation-focused nonprofit publisher Transit Press Books, this is the fourth of Spanish novelist Barba's books to appear in English. The novel relates the story of a new girl in an orphanage, and the sinister game she invents with her co-residents. The novel is translated by Lisa Dillman, with an afterword by Edmund White. In a starred review Kirkus warns, "Barba’s girls, and their game, will linger in the minds of his readers." (Lydia)