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A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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A Year in Reading: Kaulie Lewis
The books I remember most clearly from this year are, perhaps unsurprisingly, the books I spent the most time reading. In the months after graduating with my BA in English, I’ve had to adjust to a slower, more leisurely reading pace -- without the terror of a morning class it’s become near impossible to force myself through 200 pages of Anna Karenina in a single night, and so my readings have begun to stretch into longer (and, it must be said, more enjoyable) projects.
The first and most important of these drawn-out readings was St. Augustine's Confessions, which I selected at random from a used bookstore and began the week after graduation. I was struck -- am still struck -- by how modern the writing feels, at once straightforward and exquisitely lyric, speaking with both confidence and vulnerability. The confessional aspect of nonfiction writing, especially memoir, has been the subject of considerable discussion, and reading slowly -- very, very slowly -- through this original work of profound self-exposure has given the modern conversation a new depth for me. It’s also been a lesson in voice, address, and purpose -- after all, Augustine is very clear about who and what he's writing his Confessions for -- and in the power of literature to connect personalities across time and experience, since I feel unaccountably close to this 4th-century African bishop.
Another favorite work this year predates even the Confessions, perhaps an indication that reading contemporary literature should be my New Year’s resolution. But ever since I was assigned The Oresteia in my final university literature course I haven't been able to get it out of my head. The dark chaos of Agamemnon has been especially powerful, and I've fallen wholly in love with its tangles of language and meaning, with the unexplainable contradictions at the heart of the play and with Cassandra, the woman doomed to be forever misunderstood. The trilogy as a whole has its charms, and the emphasis Aeschylus placed on the possibility of progress, of clarity arising from chaos, has been comforting as I work to shape a life out of the usual post-grad 20-something confusion of my present circumstances. Even so, that chaos has a kind of beauty -- something the Agamemnon both celebrates and fears, as do I.
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The Marquise Went out at Five O’clock: On Making Sentences Do Something
When I started writing seriously -- by which I mean that I was serious in my intentions and commitment, which seem to me the main things a writer can control -- I started by writing sentences. I spent a lot of time, sometimes a day, sometimes the better part of a week, on each one, moving its parts around, weighing the thing in my hand, struggling to achieve balance and shapeliness, waiting for all the pieces to click perfectly into place.
Paul Valéry once told André Breton that he couldn’t be a novelist because he refused to write, “The Marquise went out at five o’clock.” Fiction writing, Breton and Valéry agreed, relies too much on sentences written in this “purely informative style,” sentences of a “circumstantial, needlessly specific nature” -- why five o’clock? why not five thirty? and why not a princess? In those early days of writing, I thought often of Valéry’s remark. I wanted to write fiction, but I didn’t want to write that kind of bluntly functional sentence. I wanted each sentence to be a thing unto itself, self-sufficient and entire. Needless to say, these sentences were all a long way from “The Marquise went out at five o’clock.”
Each sentence necessarily represented an end point, since it’s precisely the nature of self-sufficient things that they don’t have needs that must be met beyond their own borders. They don’t make demands that bring new things into existence. So I always felt, after finishing one, that I was starting from scratch. Naturally, I’d write another sentence, but it wouldn’t bear any relationship to the one I’d just completed. Again, necessarily so: self-sufficient things don’t have relationships.
This was in college, when I was taking writing workshops. What would happen is that I would go on in this way awhile, until I had perhaps a dozen such sentences. It would then occur to me that I had to turn them into a piece that I could submit to class, so I’d lay my sentences out and write a bunch more to connect them into something that could reasonably be called a story. These connective sentences were written much more quickly, with far less care.
If this doesn’t sound like a very good way to go about writing stories, it isn’t. And the stories I wrote in this way weren’t very good. This was as obvious to me as it was to anyone who was forced to read them. But things weren’t completely hopeless: my professors and classmates sometimes picked out isolated sentences that they believed contained enough life and interest to suggest some promise on my part. You may have already guessed that the sentences they picked were never -- I’m not exaggerating: not once -- those I’d labored over.
There was obviously a lesson to be had here, but I wasn’t sure what it was. For a while, I thought it had to do with spontaneity. The sentences I’d spent all my time on felt mannered, uptight. The sentences I’d written quickly had a breezy vitality. I tried to write entirely in this breezy way, but I couldn’t do it without already having those more carefully constructed sentences -- the “real” sentences -- to link up. And I couldn’t trick myself into writing my “real” sentences like throwaways, though I experimented with various approaches to get over this barrier. On the advice of one teacher, I tried “free” writing -- first thought, best thought. On the advice of another, I attempted self-hypnosis. On my own initiative, I drank before sitting down to work. In all cases the results were a mess.
Eventually, I just went back to laboring. I decided I had to work harder, but that part of my work would be making the writing feel less worked over. I thought of it as the literary equivalent of stonewashing jeans or building with distressed wood -- creating pleasing imperfections by first polishing and then artfully tarnishing. I built an entire novel this way. It took me a long time to do it, and the novel wasn’t any good.
This might have gone on much longer than it did except that, while working on that novel, I began writing nonfiction. Mostly I wrote book reviews, but also some essays and long-form journalism. After I’d finished the novel that wasn’t very good, I wrote a memoir. Among other things, this memoir was about the illness and death of a person I loved. When writing all this nonfiction, I labored over my sentences, but it was a different kind of labor. If you write about actual people and you are a halfway responsible human being, the mandate to account accurately for your subject is going to take precedence over everything else. So I spent a lot of time on my sentences, but I did so with a greater end in mind, which was making sure that those sentences captured the truth as I understood it. The results were better than anything I’d written before, and better than the fiction I was writing at the same time.
Once again there was a lesson to be had, and once again I didn’t know what it was. If the lesson was that I wrote better when I felt an obligation to the truth, I wasn’t sure how to apply it to my fiction writing, which was the writing that mattered most to me. More than one person suggested that the lesson was that I simply wasn’t a very good fiction writer, that I should be grateful that I could write nonfiction that people would pay to read, which put me ahead of most aspiring writers, and that I should stop driving myself crazy doing something for which I had no demonstrable talent. That wasn’t a lesson I was willing to accept. I was going to write fiction no matter what, so I might as well try to figure out how to do it properly. In fact, even knowing that the novel I’d spent six years on wasn’t any good, as I finished my memoir, I was mapping out a new novel in my head.
When you map a book out in your head, you don’t build it with sentences, since you can’t fit that many sentences in your head at once. You build it with images or scenes. Or you lay out the structure, or you outline the plot. I do some combination of all these things. In any case, the very day I sent my publisher the final changes to my memoir, I started writing what would become my first published novel. By then, the book already existed in some inchoate form in my head, and my job was to get it onto the page. There wasn’t the same kind of moral imperative that comes with nonfiction: I’d made everything up, so I didn’t owe it to anyone other than myself to render it truthfully, and I made changes to the initial conception whenever they seemed justified, many of them quite substantial. But I had finally learned the lesson, and it applied to my fiction as well as my nonfiction: Whenever my sentences had a function outside themselves -- whether that function was connecting up other sentences, honoring the truth of a loved one’s life, or setting down an imagined world already existent in my head -- they could in time be made to work. Whenever my sentences were built to be beautiful yet self-sufficient objects of attention, they collapsed.
It’s long been my experience that after I learn a valuable lesson through a lengthy and costly period of trial and error, I will quickly find that lesson stated in the most explicit terms in all sorts of places where I might easily have found it before. So I should not have been surprised, while I was working on the second novel, to come across the following passage in one of my favorite books:
These things I then knew not, and I loved these lower beauties, and I was sinking to the very depths, and to my friends I said, “Do we love any thing but the beautiful? What then is the beautiful? and what is beauty? What is it that attracts and wins us to the things we love? for unless there were in them a grace and beauty, they could by no means draw us unto them.” And I marked and perceived that in bodies themselves, there was a beauty, from their forming a sort of whole, and again, another from apt and mutual correspondence, as of a part of the body with its whole, or a shoe with a foot, and the like. And this consideration sprang up in my mind, out of my inmost heart, and I wrote “on the fair and fit,” I think, two or three books.
This comes from Augustine’s Confessions. It’s a minor passage -- the actual volumes Augustine wrote “on the fair and fit” have been lost -- but I couldn’t believe I’d taken so little notice of it in the half dozen previous times I’d read the book. Augustine is describing precisely the distinction I’d been failing to make all that time: there is a beauty to be found in a well-made whole, a body itself; then there is the beauty of a part in the whole, which is the beauty of a thing that elegantly serves its purpose. When it comes to writing stories or novels, sentences are parts, not wholes. They need to be both fair and fit. They can’t be treated as bodies themselves.
Finally, it’s not a limitation but a virtue of the novel that it demands its author to write, “The Marquise went out at five o’clock.” Within the context of the novel, such a sentence can even be beautiful, because it can be made necessary. This is the truth that another poet, W.H. Auden, gets at when he says that the novelist
Must struggle out of his boyish gift and learn
How to be plain and awkward, how to be
One after whom none think it worth to turn
Become the whole of boredom, subject to
Vulgar complaints like love, among the Just
Be just, among the Filthy filthy too,
Another bit of advice I’d read half a dozen times and didn’t understand until I’d learned it in my own way.
People can disagree, and have, over whether a novel or a story must itself have a “purpose” apart from being beautiful. But it seems to me inarguable that the parts of a novel or a story must have a purpose within the whole. These days, when I find that a sentence I’m writing isn’t working, I don’t think about what I want that sentence to look like or to be; I don’t pull it from the page to weigh it in my hand; I don’t worry over its internal balance. I simply ask myself, “What do I need this sentence to do?” I ask myself what role the sentence plays in its paragraph, what role the paragraph plays in its scene, the scene in its story. If I can’t answer these questions, even in some inarticulate and intuitive way, then I’ve got a problem, and that problem is bigger than this one sentence.
If this bit of hard-won knowledge sounds fairly obvious, I can only say in my defense that nothing about the academic creative writing complex as I experienced it encourages this attitude. The problem goes as deep as the very name of the discipline. I suspect that the perpetual debate about whether “creative writing” can be taught would cease if we just had a moratorium on that unfortunate moniker. No good teacher thinks that creativity can be taught; no good teacher doubts that writing -- in the sense of a set of tools with which a writer can tackle literary problems -- can be taught. Yet how often are beginning writing students who are not yet up to putting together an entire story placed in front of an object and asked to describe it in writing, in the way that students of painting and drawing are asked to render still lifes or the human form? Instead, they are simply told to write something that is in turn given to other students who are asked to judge it without any reference to what the piece of writing is supposed to be doing, what part it might play in a larger whole. The result, I suspect, is lots of students doing as I did, tirelessly perfecting sentences that serve no purpose, forever chasing the fair without ever considering the fit.
My own experience as a teacher has been that students are initially resistant to writing exercises, which they see as an infringement upon their self-expression. They are likely to be impatient if you suggest that these exercises will actually give them the tools necessary for self-expression, let alone that great writing might not even have that much to do with self-expression, in the end. But if you push them on it, if you set them to specific tasks, they will see improvement almost immediately and thus be encouraged to persist. I have had students admit to a great feeling of relief at being given an assignment at which they could succeed because even though they were certain that they wanted to write, they didn’t yet know what they wanted to write, and learning both the how and the what of writing at once is an overwhelming task.
There is another way that creative writing workshops at almost every level contradict the functional view I’m proposing. In most creative writing workshops, you will be encouraged to write short stories, even if your ambition is simply to write novels. (Once you’ve “graduated” from workshops, of course, you will be encouraged to write novels, even if your ambition is simply to write short stories, but this is another matter.) The idea is that stories are easier in some way, if not to write, then to discuss in class. But if it’s true that sentences and paragraphs need to be judged as parts of a whole, then it follows that the sentences and paragraphs of a short story -- which is quite obviously a dramatically different form from the novel -- need to be judged on different terms than the sentences and paragraphs of a novel. Treating short story writing as preparation for novel writing suggests that a good sentence is a good sentence, irrespective of its fitness to a particular task.
Here is what I’m not saying: I’m not saying that writing ought to be transparent, that language that draws attention to itself is an extravagance. I’m certainly not saying that a novelist must have a “purely informative style.” Nor am I saying that style should be of only secondary concern. In fact, I still more or less think that style is everything. But style, as Proust said, is just a way of looking at the world. It emerges from the effort to express something other than itself. You don’t develop a style by writing sentences that have no purpose other than to be stylish, sentences that seek to be self-contained works of art.
Admittedly, some truly great novelists, like Joyce and Flaubert and Nabokov, went a long way with the belief that every sentence should be a work of art. To this observation I have two responses. First, if you have the talent of Joyce or Flaubert or Nabokov, you should immediately cease listening to anything I have to say about writing. But second, if we’re being honest, even Joyce and Flaubert and Nabokov were in their ways harmed by this belief, achieved what they did more in spite of than because of it, and did their worst work when they were most committed to that aim.
Finally, the advice to make your sentences do something doesn’t rest on a particular attitude about the function of literature. It applies equally to traditionalists and experimentalists, to realists and to metafictionists. In a way, it doesn’t matter what you ask your sentences to do, as long as you ask them to do something. But my own experience has taught me that sentences have the best chance to fit their purpose elegantly when the work they’re being asked to do is fairly modest. One of the biggest surprises of my writing life so far has been the questions that occupy my thoughts when I’m writing. When reading great literature -- the kind that made me want to write in the first place -- I ask questions like “What is my attitude toward death?” or “How can meaning persist in the absence of God?” Because I want readers of my own work to be provoked into asking similar questions, I had long assumed that writing would involve my spending a lot of time on them. But when I write I am occupied by narrow questions specific to the work at hand, like “How do I get from this scene to that scene?” or “How do I make this character’s frustrations clear?”
If I’m lucky, my answers to these questions will implicitly suggest a relationship to all the persistent questions that I want my writing “really” to be about. I think this is what Annie Dillard means when she says that a writer must aim for the chopping block and not for the wood. But in the meantime, one advantage to the more modest questions is that they have answers. Those answers may not always be easy to find, but I long ago moved past the idea that the solution to my problems is to work less hard. At the very least, finding the perfect answer to a simple question seems feasible enough to get me started, to get me doing something.
"Sentences" by Christopher R. Beha will appear in The Writers Notebook II, which Tin House Books will publish in November.
Image Credit: Flickr/tjshirey
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