During a recent semester spent studying abroad in the UK, I had the opportunity to take an undergraduate course on Henry James. I seized the chance, having never taken a class devoted to a single author before. Previously, Henry James had existed in my mind as a hazy legend in Anglo-American letters who wrote hefty novels and dense stories in an ominously opaque prose. The only thing I had ever read of his was “The Middle Years”, a short story about an aging writer resting in Bournemouth, who befriends a doctor who also happens to be a fervent admirer of his work. It sounds awfully boring but I was impressed by the story, which reveals a great deal about reader-writer relations, although of course I found the writing itself a little impenetrable at times (the number of commas in the first sentence alone would send a good number of readers packing). It’s easy to lose your way in a James story if you’re not careful. Your eyes keep scanning the words, but your thoughts tend to wander off. Often what’s literally happening is buried beneath endless looping sentences, words that lap like waves, eddies of thoughts and counter-thoughts. It all sounds beautiful, but the reader is left wondering: what does it actually mean?
It’s obvious that Henry James is ill suited for a text-heavy undergraduate course, which requires extensive reading in a very short time. It’s not so bad when you’re studying earlier James, which tends to be more straightforward (although with the novels the length can sometimes get to you) — but things get an awful lot worse with later James. The prose becomes denser, the metaphors extend into page-long emotional parables, the grammar is impossibly convoluted, and numerous adverbs cling to and clutter the sentences.
James’ prose is notorious for becoming more elusive and complex and he grew older (it may be in part due to the fact that he started dictating to a typist in 1897, just before the advent of his “late phase”). In a letter to the Duchess of Sutherland, dated 1903, James gave his correspondent a few tips on how to read one of his novels:
Take, meanwhile, pray The Ambassadors very easily & gently: read five pages a day — be even as deliberate as that — but don’t break the thread. The thread is really stretched quite scientifically tight. Keep along with it step by step — & the full charm will come out.
It may have been that the Duchess was a particularly obtuse reader, but I do think it’s true that James is much better appreciated with lots of time to take him in slowly, a few pages at a time, to let his magic quietly come through. But James’ own recommendations, of course, are impossible to follow when you have to rifle through a whole novel in a few days for a seminar.
The reading list for the class in question included:
A selection of tales: “Daisy Miller”, “The Aspern Papers”, “The Pupil”, “The Real Thing”, “The Figure in the Carpet”, and “The Lesson of the Master”
What Maisie Knew
The Portrait of a Lady
The Princess Casamassima
The Golden Bowl
The Wings of the Dove
I ended up quite liking most of the tales, especially “The Lesson of the Master”, about the relationship between a young, promising writer and an older one whose art is in decline. It has a certain ironic bite, which I found enjoyable — the “lesson” in question being that novelists shouldn’t marry, in order to concentrate on their art (James remained a bachelor all his life). It is apparent that there are quite a few gems in the tales of Henry James, which are often in the vein of the French nouvelles (Maupassant often comes to mind). Although writing many of these short stories was bread-and-butter work for James, they offer much insight into art and human expression.
Among the novels, I never finished The Wings of the Dove, What Maisie Knew, or The Princess Casamassima, one of James’ forays into more traditional social realism (with The Bostonians), which I found read like a bad imitation of Dickens. The Portrait of a Lady was by far the most readable and engaging of his novels, and Isabel Archer remains one of his most sympathetic characters — despite the famously unsatisfactory ending. The two later novels I read, The Ambassadors and The Golden Bowl — especially the latter, where so little happens for so long — initially put me off. They are demanding books, but in the end they proved more interesting to think and write about. The Ambassadors, for instance, through some intricate literary trick, manages to charm the reader into embracing the middle-aged protagonist’s point of view. Strether’s fascination for Paris, for Chad (whom he comes to Paris to save) and for Madame de Vionnet (with whom Chad is having an affair) becomes the fascination of the reader, while James masterfully pulls the strings behind the scenes. It’s a rewarding, beautiful reading experience; and there really is a kind of taut, charming thread running through it.
A certain reputation precedes Henry James, I think — and it’s not a very good one. Another preconception I had about him was that he was rather passé, in both style and content. He already seemed outdated in his own time (at the turn of the century, who else was writing novels about adultery among the rich and beautiful in such wordy prose?), so how could he possibly be relevant today?
I was wrong, of course. Although James was never read by the masses, he still generates a fair deal of critical attention and admiration. Many authors today use James’ life and work to inspire their own fiction: Colm Tóibín’s Booker short-listed The Master is a fictionalized account of a part of James’ life (more on that later), while David Lodge’s Author, Author (published six months after Tóibín’s novel) does something similar. Joyce Carol Oates’ recent collection of stories Wild Nights! includes a moving story about James visiting a wounded soldier in a London hospital during World War I, and Cynthia Ozick’s 2010 novel Foreign Bodies is a retelling of The Ambassadors. In the last decade, Penguin Classics has reedited most of James’ novels and stories in a new series under the general editorship of one of the most prominent Jamesian critics, Philip Horne. NYRB Classics has also included many of James’ little known titles in their series, while Cambridge University Press is planning a new, multi-volume critical edition of James’ works, to be published by 2016 for the centenary of his death.
It is clear that James is not passé, and never was. He is, in fact, perhaps more relevant than ever; but his works lie in a strange place outside of time, and they were written that way. James was and remains a demanding author because he found something intensely true about the complexity of human nature and felt compelled to communicate this truth in the stories that took hold of his imagination. He was a careful writer, true to his art and craft, and a meticulous revisionist. His works are deep, long, airless dives into the complexities and multiplicities of the self. It’s not an easy subject to write about. His stories, lacking in plot, are simple accounts: mere turning points in the lives of characters or revelations of social organizations. Yet in their self-consciousness and ambiguities, and even in the circumlocutions of James’ language — which in truth is closer to the fragmented consciousness of modernism than to Victorian verbosity — they reveal something irresistibly true about life.
It’s easy, of course, to call binge reading Henry James a joy when the term is over and the essay is handed in and corrected. For most of the duration of the course, I would’ve probably called the process “Henry James and the Woes of Binge Reading”. Often times it felt like I was out of breath as I jumped from one work to the next, trying to catch up on my reading just before class, and then having to move on to the next book down the list without having finished the previous one.
But, as anyone who has taken a class like this (or anyone who has ever binge read from a single author in a short period of time) will know, this type of reading can also be highly rewarding. One passes from one book to the next almost seamlessly, without having to adapt to a new style, witnessing (if the works are read more or less chronologically) the progression of the writer’s art over time, the evolution of his concerns, and the development of his authorial voice.
James’ themes become richer and more multi-faceted when looked at across his entire oeuvre: things like the so-called international theme, problematic endings, his obsession with art and reality (or realism v. romance), and the self-consciousness of his fiction. For instance, I noticed that in nearly all of his novels, whenever fate intervenes in a way that seems exaggerated, a character usually declares something along the lines of: “I feel like we’re in a novel!”
The binge reader also starts to notice stock characters as they crop up from story to story. One of the most common, in James, is the young, empowered American heiress: for example the eponymous heroine of “Daisy Miller”, James’ first successful story; Isabel Archer in The Portrait of a Lady, who struggles between her freedom and her duty; and Maggie Verver (aka The Princess) in The Golden Bowl, who starts off as a meek wife and manages to get rid of her husband’s lover (also married to her father) by the end of the novel through the most skillful, subtle social maneuvering.
Theater is another recurring (although not always explicit) theme in Jamesian fiction. James uses a great deal of theatrical metaphor throughout his stories to describe the shifting nature of his characters and the multiplicity of their personalities, which they project out into the world like carefully constructed roles. Thus the adulterous women in his novels — another stock character — like Madame de Vionnet in The Ambassadors or Madame Merle in The Portrait of a Lady, are often described as actresses. They put on masks, makeup, and costumes and bury their identities beneath layers of constructed characteristics to manipulate their audiences.
Perhaps the great number of theatrical metaphors relates to James’ involvement with the theatre, which more or less ended with the failure of his play Guy Domville in 1895 (again, shortly before his “late phase” began). It was a deeply traumatic experience for James (both Tóibín and Lodge make it a central element in their novels). He described the humiliating premier in a letter to Henrietta Rendell as “the most horrible hours of my life.” Thus James was forced to return to the less lucrative — albeit probably more comfortable — business of writing for print only (“thank heaven there is another art”), but it is clear that his failure in the theater left its mark.
It seems I didn’t want to get away from Henry James after the course was over because I continued to peruse his Life in Letters, brilliantly edited by Philip Horne, which has some really beautiful bits of writing in it. I also read The Master by Colm Tóibín, and I would like to end with a few words on this book. It walks the fine line between biography and novel, a tricky genre that Tóibín pulls off majestically. It proves an insightful way of writing and thinking about James, whose life and work are a complicated balance of fiction and reality.
Tóibín’s novel is a gripping, major work of literature, which I binge read with relish not because I had to, but because it offers a fascinating exploration of James as a character whose consciousness is revealed to be as complex and deeply moving as those of the characters he, in turn, created. Tóibín’s novel offers a prism through which many of James’ works are refracted, illuminating them with new meaning and a more directly human resonance. He also treats James’ probable homosexuality with subtlety and respect — no easy feat. The Master is a good read intrinsically, as well; intelligent, endearing, moving, and even funny at times (in a quiet, quaint, all too Jamesian way).
If you read nothing by Henry James or nothing else related to him, I urge you, at least, to read The Master. It seems almost disrespectful to the “master” in question to say so, but I am confident that if you do read Tóibín’s novel, you’ll be tempted to pick up one of James’ books afterward. I’m quite certain you won’t be disappointed by either.
Critics who produce the same tired titles for these infernal end-of-the-year lists are as useless as austere accountants who refuse to fox trot on the dance floor. They are stiff, unimaginative, uncultured, incurious, and, quite possibly, lousy in bed. They are the literary equivalent of unadventurous tourists who cling to tired maps and who are hopeless with a Swiss Army knife.
The authors who are afforded predictable laurels are not to blame for this. Don’t get me wrong. These folks know how to cut the rug. Paul Murray (Skippy Dies), Yiyun Li (Gold Boy, Emerald Girl), Tom McCarthy (C), Cynthia Ozick (Foreign Bodies), David Rakoff (Half Empty), Adam Ross (Mr. Peanut), David Mitchell (The Thousand Autumns of Jacob De Zoet), Matt Taibbi (Griftopia), Paul Auster (Sunset Park) and Marilynne Robinson (Absence of Mind) hardly need any help from me. Chances are that you’re already familiar with these fine titles. As for some “masterpieces,” well, you don’t really need me to tell you that the emperor wears no clothes.
But who needs such unpleasantness! 2010 was a great year in books! This was a hard list to assemble! There were only two books this year that almost made me consider suicide!
The following list represents an effort to identify books that were completely marginalized, modestly outside the radar, or needlessly condemened by certain hatchet wielders who lacked the grace and/or the intelligence to embrace a peculiar magic.
Allison Amend, Stations West – Jewish cowboys, vagabonds, 19th century multiculturalism, and an elaborate storyline covering a good fifty years. It isn’t often when a novelist crams so much enjoyable story into a taut 250 page container. In addition to the book’s telling but unobtrusive historical details (“inexpensive porcelain dishes” delicately placed inside a glass case for a quiet dignity, the newspapers taking so long to deliver the news, et al.), Amend is very careful in giving the reader much to infer. Garfield, for example, is an indolent trainhopper who becomes something of a politco. The reasons behind this unlikely ascent are skillfully delivered: “As the country entered a new century, so did Garfield. He was tired of the raised eyebrows, the barely polite refusals, tired of fighting just to get the same food or service everyone else did. Just because he had a Jewish surname.” Yet remarkably, this book has received scant notice from the book reviewing outlets. Perhaps because it’s too readable to be true.
Toby Ball, The Vaults – “So he leaned against a thick timber that had at one time served as a post for a jetty and with his collar up and hat down inhaled the sweet, moist smoke and felt the cold become a more-interesting-than-uncomfortable sensation on his skin.” That’s probably the type of hyperspecific pulp prose style that’s going to infuriate the Millions readership. The time has come to loosen up. From a worldbuilding standpoint, why shouldn’t we know the origin point of the post? Why shouldn’t we know how someone faces the cold or contends with competing dermal sensations? These may seem flippant questions. But if we can accept this level of detail in William Gibson or Nicholson Baker, then surely we can offer some wiggle room for an engaging novel that somehow manages to squeeze such intriguing sentences into brisk chapters (did I mention that this book moves?) for a high-octane, multiple character story that involves a parallel dystopian America in the 1930s.
Robin Black, If I Loved You, I Would Tell You This – Forget Wells Tower. Robin Black’s marvelous short story collection, which was needlessly ignored by The New York Times and The Washington Post, is very much on the level: far truer to human existence than anything written by that lumbering Young Turk. These subtle and mature stories avoid belabored metaphors and neat conclusions, revealing numerous nuances about the human condition in its careful use of understated language Black knows “the heavy lifting when the conversation sags.” In “A Country Where You Once Lived,” cybersex involves “gasps from behind a curtain of shimmering color blocks.” The striking possibility that humans can surrender to their baser instincts is suggested by “Harriet Elliott”’s narrator sleeping in a bedroom filled with stuffed animals. Some stories are interrupted by terrible accidents, often of the car crashing variety. But these stories don’t just tell the truth; like much great literature, they make a quiet case for perseverance.
Paula Bomer, Baby – These darkly hilarious tales are somewhat reminiscent of Kate Christensen, Iris Owens, and Maggie Estep. Yet Bomer is more willing to investigate that uncomfortable territory between extreme behavior and insanity. In a Bomer story, you’ll find a perverse passage (“She didn’t know what to do. But that was how it was. Babies screamed, you tried all sorts of things, and sometimes, they just kept screaming anyway.”) that makes you ponder why the character hasn’t been arrested for outright neglect. (What “things” did this mother try? And why is her partner so complicit?) Unfortunately, mainstream publishers don’t have the stones to publish such material anymore. Fortunately, Word Riot Press is there to cover the gap.
Jane Brox, Brilliant – In The Journal of American History, Jill Lepore unfurled a Bummer Bertha, suggesting that microhistories, by way of auctorial passion, have little to offer the serious minded. Such a distressingly humorless attitude can be handily answered by Jane Brox’s fascinating book, emerging from a straightforward examination of how artificial light has permanently altered human existence. Before reading this book, I had no idea how difficult it was for astronomers to locate dark patches of the sky. I knew that the end of the curfew had augmented nightlife, but I hadn’t fully considered how swiftly gaslight had superceded candlelight, making such items as theatrical makeup more garish. The common electricity that we now take for granted is a relatively recent phenomenon. Imagine that you’re a farmer in the 1930s who has recently received rural electrification. Now imagine that you’re given the sudden ability to see beyond the circumference of the kitchen table and how this alters your everyday family life. Brox’s book is loaded with such examples. And I include it on this list, with the proviso that you may become as intoxicated by the subject matter as I was: so much so that you will find yourself flocking to the library, seeking the many sources and pondering the vantage point of someone illuminated in 1849.
Andrew Ervin, Extraordinary Renditions – Ervin’s debut novel is one of two Hungary-themed books on this list. I don’t know what it is about Hungary, but maybe the Budapest Tourist Office will explain this obsession to me one day. Extraordinary Renditions was one of those novels (or three interconnected novellas; pick your category!) that made it into my backpack at BEA (I have no recollection of acquiring it; so perhaps it was a plant!) and which I very much enjoyed. Like the Amend and Bomer books, it’s very much the kind of book you don’t see published by a major house anymore. No coverage in The New York Times, nothing in The Washington Post, some coverage in some newspapers. See a trend? Anyway, this book’s about national identity and expatriates running around Hungary. It’s funny, alarming, evocative, and, very often with its internal description, defies its apparent historical setting. It echoes political texts while presenting political folly (and youthful folly). Said folly even extends to the naivete of a celebrated composer of some years, who shuffles the Budapest streets like a young man.
James Hynes, Next – Knowing of my needless difficulties in obtaining review copies from Little Brown, a good friend placed this novel in my hands and urged me to read it. Not only did I finish this tome in one sitting, but I plunged into Hynes’s backlist, discovering the wonderfully twisted book, Kings of Infinite Space. I don’t say this lightly, but James Hynes is very much the real deal. He is as worthy a literary satirist as Sam Lipsyte, Lydia Millet, George Saunders, Jess Walter, and countless others. But you won’t see him in The New Yorker anytime soon. And that is because, from his homebase in Austin, he understands the human condition too well. Hynes knows that what occurs on your way to a job interview is often just as important as whether or not you get the job. The result here is a novel that is both hilarious and revealingly introspective.
Charlie Huston, Sleepless – The prolific and highly enjoyable Charlie Huston has given us some gleefully brutal moments, vampirism afflicting the marginalized, and comic capers involving a crime scene cleanup. But Sleepless signaled an unexpected gravitas and several ambitious steps forward. With its plot set in the daringly recent future (six months from now), with 10% of the population suffering from permanent insomnia and addicted to a massively multiplayer game called Chasm Tide, Huston portrays an increasingly more persuasive world in which life is dictated by the cultural dregs that remain. Where Gary Shteyngart offered little more than expansive (yet enjoyable) detachment with his dystopian epic, Super Sad True Love Story, Huston wants to get at the manner people carry on. Does it come from fatherhood? Some larger sense of responsibility? The ability to withstand horrific torture or loved ones disappearing? Manhood’s certainly part of the game, but the chessboard’s much larger. And Huston only gets better.
Julie Orringer, The Invisible Bridge – This sweeping epic was, at 624 pages, perhaps too much for some critics to take in. One snarky scribbler condemned this book for “feel[ing] birfurcated” without bothering to cite a reason. (Perhaps the events of the Holocaust? Known to unsettle populations and disorder romantic harmony? Just a few wild stabs in the dark.) Such foolish snaps don’t even begin to approximate what Orringer’s magnificent debut novel does. Using beautiful language to depict the near disappearance of an idyllic paradise (“He entered through a floriated wrought-iron gate between two stern figures carved in stone, and crossed a sculpture garden packed with perfect marble specimens of kore and kouros, straight from his art history textbook, staring into the distance with empty almond-shaped eyes.”), this powerful novel is equally unflinching in ilustrating how its colorful cast of characters (including an acrobatic family member) “might grow up without the gravity…without the sense of tragedy that seemed to hang in the air like the brown dust of bituminous coal.” This is a book that approaches unspeakable barbarism with a rare ebullience, feeling neither inappropriate nor unconsidered. It is a call for hope and small acts of resistance. It may be set in the past, but this is very much a novel for our times.
Gary Rivlin, Broke USA – Many flocked to Matt Taibbi’s excellent Griftopia as the high finance expose of the year. But Gary Rivlin’s understated look at predatory lending is also worth a look. The book collects perspectives from every end of the spectrum. There’s Chris Browning, the former manager of a Check ‘n’ Go in Ohio, who was fired because she was required by the higher ups to upsell and lend money to anybody who walked through the door; Martin Eakes, the man behind the Center for Responsible Lending offering a more reasonable APR through his credit union. And then there’s the sordid history of the rapacious corporations that built up their businesses with the refund anticipation loan, disguising the hidden costs of tax preparation. Like Howard Karger’s Shortchanged and John Lanchester’s IOU, Rivlin’s book is vital in understanding some of this nation’s most underreported issues.
Matthew Sharpe, You Were Wrong – Lips are “two fat garden slugs making love.” There is “no worse violation of a soul than hope.” We’re told that “tones can be tough for everyone and were extratough for Karl, who was lately an avid pupil in the urgent remedial project of tones.” Sometimes the reader is subtly addressed. Sometimes not. There is a curious precision to the description in the way the “midafternoon sunbeam entered the house through a bedroom window to the right.” These are just some of the many nonsequitur joys (or planned pleasures?) to be found within Matthew Sharpe’s extremely goofy and very enjoyable novel, which seems to be channeling Flann O’Brien’s madcap spirit.
Scarlett Thomas, Our Tragic Universe – Scarlett Thomas’s subtle efforts to examine the relationship between narrative and life – to say nothing of the omega point – were drastically misunderstood by those who expected another The End of Mr. Y. For this masterful novel — defiantly plotless after the success of Thomas’s previous pageturners — is very much interested in how narrative must rely upon contrivances in order to present life. Beyond this, it dares to portray Meg Carpenter, an intelligent woman whose identity is occluded by the driftless mumbling of her flaccid partner. By offering a protagonist brazenly defiant of reader expectations, Thomas subtly channels Henry James’s Isabel Archer (with Meg, like Isabel, even running into some money), while also demonstrating that the quest for the new often leads to the same old cycles.
Donald E. Westlake, Memory – This lost novel in a drawer, published by Hard Case Crime after four decades of dutiful dust collection, revealed that Westlake was far more than a mystery master. The book’s taut and fatalistic narrative arguably aligns itself with Knut Hamsun’s Hunger and Dostoevsky’s Notes from Underground. And had Westlake pursued more solitary outcasts like protagonist Paul Cole, he may very well have pursued John Banville’s trajectory (ironically, with Banville finding his alter ego, Benjamin Black, in the end). Which isn’t to take away from Westlake’s Dortmunder books or Westlake’s wonderful Parker novels (written under Richard Stark) – all very deserving of praise. Memory confirms that “inferior” genres must be reconsidered by the seemingly discriminating.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
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This year’s New York Times Notable Books of the Year list is out. At 100 titles, the list is more of a catalog of the noteworthy than a distinction. Sticking with the fiction exclusively, it appears that we touched upon a few of these books as well:
The Ask by Sam Lipsyte (our profile of Lipsyte, a most anticipated book)
Bound by Antonya Nelson (a most anticipated book)
Foreign Bodies by Cynthia Ozick (a most anticipated book)
Freedom by Jonathan Franzen (our review, an all-female book club reads Freedom, taking down B.R. Myers’ take on Freedom, “Is Big Back?,” the Franzen cover of Time, a Millions Top Ten book, a most anticipated book)
Fun With Problems by Robert Stone (our review, a most anticipated book)
The Girl Who Kicked the Hornet’s Nest by Stieg Larsson (The Stieg Larsson takedown, a most anticipated book, a Millions Top Ten book)
Great House by Nicole Krauss (National Book Award finalist, a most anticipated book)
I Curse the River of Time by Per Petterson (a most anticipated book)
The Imperfectionists by Tom Rachman (our review)
The Invisible Bridge by Julie Orringer (“20 More Under 40,” a most anticipated book)
The Long Song by Andrea Levy (Booker shortlister)
The Lotus Eaters by Tatjana Soli (Tatjana Soli’s writing at The Millions)
Matterhorn by Karl Marlantes (“Is Big Back?“)
Memory Wall by Anthony Doerr (our review, a most anticipated book)
The Privileges by Jonathan Dee (The Millions interview)
Room by Emma Donoghue (our review, Booker shortlister, a Millions Top Ten book)
Selected Stories by William Trevor (a most anticipated book)
Solar by Ian McEwan (a most anticipated book)
Super Sad True Love Story by Gary Shteyngart (our review, a most anticipated book, a Millions Top Ten book)
The Surrendered by Chang-Rae Lee (a most anticipated book)
The Thousand Autumns of Jacob de Zoet by David Mitchell (a morning with David Mitchell, our review, a Millions Top Ten book, a most anticipated book)
To the End of the Land by David Grossman (our review)
A Visit from the Goon Squad by Jennifer Egan (our profile of Jennifer Egan, our review, a Millions Top Ten book, a most anticipated book)
What Becomes by A.L. Kennedy (a most anticipated book)
When my first novel was published in the pre-snark summer of 1992, the reviews knocked me out. In a good way. Not only did they come from all over—from Germany and England, from Albuquerque and Atlanta, from Oakland and Milwaukee and Detroit—but they were uniformly thoughtful, generally positive and occasionally over the moon. Even impossible-to-please Michiko Kakutani of the New York Times said nice things, favorably comparing my tale about 1950s Detroit to John Updike’s “Rabbit” novels.
But one reviewer flat got the book better than all the others. His review in the Washington Post Book World ended with this summation of the novel’s intentions: “It’s a vivid and entertaining expedition in the literary quest for the exact moment when the Streets of Gold began to transmute into base metal.”
Precisely. I have always been fascinated by the moment when things pivot. The moment when something happens—sometimes something cataclysmic, but just as often something negligible or even imperceptible—something that forever changes the course of an individual life, a love affair, a game, a war, the fate of a corporation or government, a way of life. In my novel, I posited that the technicolor boom year of 1954 was the moment when General Motors, the biggest, richest and most powerful industrial enterprise in human history, began to be eaten alive by its own prosperity, provincialism, myopia, and hubris. The Book World’s reviewer wrote that the novel “paints a disturbingly accurate picture of an industrial leviathan rolling fat on the profits of its biggest year, oblivious to the faint rumble from the factories of the Far East and the cancerous cells feeding on its own vitals.” Of course in the summer of 1992 neither the reviewer nor I dreamed that General Motors had begun its long slide into bankruptcy.
The reviewer’s name was Loren D. Estleman, and he was identified as the author of the Detroit Trilogy: Whiskey River, Motown, and King of the Corner. I had never heard of Estleman or his books, but I typed him a thank you letter and mailed it to the Washington Post Book World. To my surprise a typewritten letter came back from Estleman with a Michigan postmark. I replied. He replied again. And just like that, a correspondence was born.
Loren Estleman and I are still pen pals today. There’s no other word for it. We’re a couple of writers whose bond is built on two things: an admiration for each other’s work; and the letters we’ve been exchanging, with surprising, almost stubborn regularity, for nearly twenty years. We’re pals, in the loftiest sense of that humble word.
As I learned early on, Estleman is not only a colorful and faithful correspondent, he’s also an almost scarily prolific writer of novels, short stories and reviews. Combining the street smarts of Elmore Leonard with the work ethic of Joyce Carol Oates, Estleman has published more than 60 novels, most notably Westerns and crime novels featuring an engagingly gruff Detroit private eye named Amos Walker. Amos Walker: The Complete Story Collection, a handsome 637-page hardcover, has just been published by Tyrus Books. In the introduction, Estleman describes Walker as “a postmodern knight errant slaying his ogres one at a time armed with nothing but a revolver and a laminated license.” I would add that Walker’s arsenal also includes an amused and amusing appreciation for the eternal venality of the human soul. It would not be unfair to call Estleman a genre writer and I doubt that he would bristle at the label, but I prefer to think of him, with no small amount of admiration, as a working pro. The son of a truck driver, he regards writing as his job, and he approaches it with care, respect, iron determination, a sharp eye for what will sell (and what will not), and something I recognize as love.
As you might expect, our letters have frequently touched on the joys and vexations of the writing life—news of sales and rejections; frustrations with editors and proofreaders and agents; what makes a good book title; tips on other writers we like (and dislike); what we’re reading at the moment. But there has also been much back-and-forth about topics large and small that have nothing to do with writing—family news, including the deaths of our fathers; our shared love of baseball, especially the Detroit Tigers; Estleman’s need to replace the leaky roof on the house he shares with his wife, the writer Deborah Morgan; news of our travels; musings on terrorism, politics, our shared distrust of technology, and the decline of the American auto industry along with so many other facets of our national life, including the middle class, day baseball, civility and, of course, the art of letter writing. In essence, we’ve been having an evolving, open-ended conversation on paper for the past two decades.
Like his books, Estleman’s letters are written in a street vernacular that is all at once tough and tender, pissed-off and amused, world-weary and full of wonder – and very funny. Here he is, for example, on a family medical problem:
My mother had a heart attack a month ago, is staying with us while she recuperates, which she’s doing at an alarming pace, the way David McCallum’s intellect kept increasing in that old “Outer Limits” episode. She’s a wonderful guest, but she’s faunching at the bit to get back to the old farmhouse and her daily routine, and it will be good to get our lives back. She’d be there by now if my brother weren’t proceeding at a crippled snail’s pace swamping out and remodeling her place so she won’t run her walker over lethal dust bunnies or the odd Lincoln log.
And here’s Estleman’s reaction after I interviewed Robert B. Parker for a newspaper article and reported that I found Spenser’s creator to be a colossal gas bag:
I got a nice quote out of Parker once, so I don’t like to bad-mouth him, but it’s been clear to me for some time that he lost interest in Spenser early on and has been essentially writing ALL WORK AND NO PLAY MAKES JACK A DULL BOY since A Savage Place. I never agreed with Spenser’s philosophy that he could keep his own hands clean by letting Hawk do his dirty work, and join with the legions of readers who have been begging Parker for years to kill off Susan Silverman. He’s too good a writer to squander his talents on this worn-out series.
Estleman and I were born less than six weeks apart. Since I’ve struggled to publish two novels while he has seen dozens into print, his pace of production naturally came up:
Now, I don’t write fast, just steady… Writing pace is a metabolic thing. It took Margaret Mitchell ten years to write Gone With the Wind, while Joyce Carol Oates is entirely capable of writing ten books in one year. Whether GWTW is ten times better than any of those just because its author worked at a slower pace is one of those questions critics waste far too much time trying to answer. I’m comfortable writing two books a year (and) I try to take time off between books, but after a few days I’m scaling the walls. I still work on manual typewriters.
This last sentence is significant. Estleman’s letters are always typewritten, single-spaced, remarkably free of typos. He refuses to buy a computer, though his wife has created a website to help sell his books. I still write on a manual typewriter too, a Royal. Our typewriters are not a pose. We learned to use them when we were young, and we find that they are still the best tools for building sentences – the feel of fingertips on the keyboard, the gunshot reports of keys smacking the platen, the ding! at the end of each line. In his most recent letter Estleman wrote:
I own fifty typewriters, including some museum pieces well over a century old. The 1967 Olympia is for manuscripts, this 1923 Underwood for correspondence and the occasional short story. They never break down, I can fix the very few things that do go wrong (an extremely rare occurrence), and I work through power failures, thunderstorms, and viruses. Best of all, I’m self-contained. I’ve never had a telephone conversation with anyone in India. I have little use for the Net and no confidence in it…(and) don’t ask me about blogs. That time and energy should be spent on one’s work.
This doesn’t mean Estleman and I are Luddites or cheesy romantics. It’s both simpler and more complicated than that. It means we don’t believe that faster is necessarily better, and we’re distrustful of a bill of goods that our gadget-drunk culture has swallowed whole, the illusion that technology has some magical power to improve our lives. Estleman and I are essentially conservative animals who distrust the notion, so prevalent today, that all things can be improved with the right technology, the right information, the right management, the right laws. While mankind strives to improve itself to death, some of us want no part of it. In a 1992 interview in the New York Times, Cormac McCarthy said, “I think the notion that the species can be improved in some way, that everyone can live in harmony, is a really dangerous idea. Those who are afflicted with this notion can be the first ones to give up their souls, their freedom. Your desire that it be that way will enslave you and make your life vacuous.” It did not surprise me to learn that McCarthy writes on an Olivetti manual. Sometimes a typewriter is more than just a typewriter.
McCarthy’s words reminded me of Marshall Frady’s description of the novelist Jesse Hill Ford: “Like most who are authentically taken up into the obsession of writing, Ford…worked out of an older understanding of man – that primitive, profoundly reactionary, pagan vision in which virtually all true story-tellers have probably been working since Homer, which has evolved not an inch since Ecclesiastes: that the race is basically unimprovable…”
I saved the letters I’ve received from Loren Estleman and a few other correspondents over the years. As I re-read them recently, I realized, with dismay, that I’m no longer the letter-writing machine I used to be. I know why. Some of my more faithful correspondents have died—most notably my father and godfather, former newspapermen who wrote elegant typewritten letters—while others switched to e-mail and some simply quit responding to my letters. In time, I stopped writing to people who didn’t write back, and I started replying to e-mails with e-mails for the simple reason that they deserve no better. As I re-read Estleman’s letters, I was surprised to realize he’s not only my oldest and most faithful pen pal—he’s my last pen pal.
One could argue that writing is writing—it’s all communication—whether it’s scratches on a cave wall, glyphs in stone, ink on papyrus, pencil on paper, typed characters on bond stationery, or digits in the ether. I disagree. In writing and reading, no less than in art, the medium of creation and consumption is critical to a work’s effect. That’s not to say that writing longhand is better than writing on a typewriter, or that writing on a typewriter is better than writing on a laptop; rather, it’s to say that each of these acts is different from the others and will yield different types of prose. All writers and even the most casual readers sense this. At every reading I’ve attended, an audience member invariably asks the author: “How do you write? Longhand? On a computer?” And every author has a different answer. Many are downright fetishistic about their mode of composition. A recent New York Times article about Cynthia Ozick’s new novel, Foreign Bodies, noted that she writes “in longhand on a Sears Roebuck desk once owned by her brother.” I’m sure her books would be very different if she wrote them on a computer – maybe better, maybe worse, but definitely different.
Similarly, tapping out an e-mail and hitting the Send key (or texting with your opposable thumbs) produces a different effect from composing a letter, revising it, putting it in an envelope and mailing it to someone. And opening that envelope and reading that letter is a different experience from reading an e-mail or a text message. It simply is. It’s more tactile, more suspenseful, more personal – and more likely leave a lasting impression. When writing an e-mail, I find I write much faster and with less thought and feeling than when I write a letter. I even know people who intentionally leave typos and mangled grammar in their e-mails, a shorthand way of saying they’re much too busy – and important – to waste time with proofreading or a spell-check.
I have a German friend who thinks I’m dead wrong to argue that traditional letters are superior to e-mail. She has lived in New York City since the 1980s and has a daughter, and now a five-year-old granddaughter, living in Germany. “It depends on why you write,” she argues. “If you just want to be in contact, an e-mail brings you closer because it’s more immediate and you don’t hesitate to write unimportant thoughts. It’s not filtered by literary pretensions, and therefore I think you’re much closer to that person. My daughter and I have had the Atlantic Ocean between us for 25 years. Phone calls used to cost a couple of dollars a minute and letters take a week to arrive. My daughter and I have become much, much closer since the advent of e-mail and Skype.”
Fair enough. But maybe the world of written communication could use a bit more literary pretension, or at least more attention to such trifles as grammar, syntax and spelling. Writing in The Guardian, Martin Amis opened his review of Philip Larkin’s new book of letters with this acid obituary: “The age of the literary correspondence is dying, slowly but surely electrocuted by the superconductors of high modernity. This expiration was locked into certainty about 20 years ago; and although William Trevor and V.S. Naipaul, say, may yet reward us, it already sounds fogeyish to reiterate that, no, we won’t be seeing, and we won’t be wanting to see, the selected faxes and e-mails, the selected texts and tweets of their successors.”
While I was writing this essay, my second-to-last pen pal, a former newspaper colleague in North Carolina, wrote me an e-mail to let me know he will soon be visiting New York City and wants to get together. We’ve been corresponding, off and on, for 30 years. He used to write letters on a typewriter but eventually shifted to a computer, printing out each letter and then putting it in an envelope and mailing it to me. It was a debased form of the art, but I learned to live with it. Lately, though, it’s been all e-mail all the time. His latest was a dry list of his plans for the impending New York trip – visits to museums, galleries, a concert, a book awards dinner. He closed the e-mail sheepishly: “Apologies for this degenerate and uncivilized mode of communication. My printer remains unattended to as I continue to contemplate a major computer overhaul. I think I’ll decline. Man, you’re right. This e-mail shit drains the life out of letter writing.”
While I’m dismayed that I’m down to my last pen pal, I’m also grateful that every time I write Loren Estleman a letter, he writes one back. Saul Bellow understood my gratitude. In 1989 he wrote to an old friend: “I send you a mere booklet, and you answer with a personal letter, a really valuable communication in the old style. I sometimes think I write books in lieu of letters and that real letters have more kindness in them, addressed as they are to one friend.”
Yes, I’m lucky to still have one such friend.
Image Credit: Pexels/Ali Bakhtiari.
Already on shelves ahead of its “official” release date is Mark Twain’s long embargoed Autobiography. Also new this week are The Petting Zoo, a posthumously published novel by punk poet Jim Carroll; a new collection of Selected Stories from master of the form William Trevor; Cynthia Ozick’s “retelling” of of Henry James’ The Ambassadors, Foreign Bodies; and, in time for election day today, Matt Taibbi’s collection of biting political journalism, Griftopia.
2010 has already been a strong year for fiction lovers, with new novels by the likes of Joshua Ferris, Don DeLillo, Ian McEwan, Lionel Shriver, Jennifer Egan, and David Mitchell. Meanwhile, publishing houses offered up posthumous works by Ralph Ellison, Robert Walser, and Henry Roth, and the font of Roberto Bolaño fiction continued to flow.
The second half of 2010 will bring much anticipated work by Gary Shteyngart, Antonya Nelson, Salman Rushdie, and especially Jonathan Franzen. So that readers may set their literary calendars anew, we’ve selected a few dozen books we’re looking forward to. (The writer of each preview is noted in parenthesis.)
July (or already available)
The Cookbook Collector by Allegra Goodman: I first took note of Allegra Goodman’s off-kilter prose thanks to a New Yorker short story five years ago. As it turns out, that story, gently poking fun at the exuberance of the late 1990s, but also quietly weighty, touching on pain, religion and the whole idea of being “centered,” was a piece of Goodman’s new novel, The Cookbook Collector. The book focuses on a pair of sisters at the turn of the millennium toiling on either end of the technology continuum, one the founder of a dot-com startup, the other an antiquarian book dealer. PW loves the book, calling it “Goodman’s most robust, fully realized and trenchantly meaningful work yet.” (Max)
The Four Fingers of Death by Rick Moody: The Four Fingers of Death is a 700 page supercollider. It brings together the various interests Rick Moody has explored in his eight previous books: metafiction, domestic drama, satire, the entertainment industry, and the Way We Live Now…er, tomorrow. The framing tale, set in the year 2025 (yes, man is still alive), concerns Montese Crandall, a self-involved writer-type who will be familiar to readers of Moody’s short stories. The longer, framed section is a Vonnegut-inspired sci-fi romp. Gradually, one imagines, the two converge. Mutual illumination ensues. (Garth)
Memory Wall by Anthony Doerr: Doerr came to the attention of many readers with his debut collection of stories The Shell Collector. Now, after a novel and a travel memoir, he’s back with another collection that includes two novellas and four short stories. As with The Shell Collector, Doerr’s scope in Memory Wall is global. A recent profile with Boise Weekly — Doerr is wrapping up his tenure as Idaho’s writer in residence — places the action in China, South Africa, Germany, Korea, Lithuania, Wyoming and, of course, Idaho. (Max)
Super Sad True Love Story by Gary Shteyngart: The author of the critically acclaimed and deliriously off-kilter novels The Russian Debutante’s Handbook and Absurdistan returns with a third novel set in an apocalyptic near-future. Books are all but extinct and America is functionally illiterate, there are riots in Central Park and National Guard tanks on every Manhattan street corner, and the narrator is, as the Random House publicity department puts it, “the proud owner of what may well be the world’s last diary.” It’s difficult to resist the book’s opening lines: “Today I’ve made a major decision: I am never going to die. Others will die around me. They will be nullified. Nothing of their personality will remain. The light switch will be turned off.” (Emily M.)
Faithful Place by Tana French: Faithful Place is the #1 Indie Next Pick for the month of July. (This is a big deal—it means that independent booksellers across the United States have picked French’s new novel as their favorite out of all the books being published in the US in July 2010.) This alone should be enough to make us sit up and take notice,
but the plotline is particularly beguiling: when Frank Mackey was nineteen, he made plans with his girlfriend Rosie to leave the poverty and dysfunction of their lives in Dublin’s inner city and flee to London. But Rosie never appeared on the night they were supposed to meet, and Frank, assuming that she’d changed her mind, went on to England without her. Twenty-two years later, a suitcase is found behind a fireplace in a run-down building on the street where Frank grew up; when it becomes clear that the suitcase belonged to Rosie, Frank returns home to try and unravel the mystery of what happened to her. French is also the author
of two previous critically-acclaimed novels: In the Woods, which won the Edgar, Barry, Macavity, and Anthony awards, and The Likeness. (Emily M.)
The Thieves of Manhattan by Adam Langer: Adam Langer, who is the author of the well-received Crossing California and two other books, will publish The Thieves of Manhattan this month. In a starred review, Publishers Weekly called it “an über-hip caper that pays homage to and skewers the state of publishing and flash-in-the-pan authors… Part Bright Lights, Big City, part The Grifters, this delicious satire of the literary world is peppered with slang so trendy a glossary is included.” (Edan)
The Return and The Insufferable Gaucho by Roberto Bolaño: The frenzy of posthumous Bolaño publication continues. The Return (July) is a new volume of short stories. And The Insufferable Gaucho (August) — more stories, plus two essays — was apparently the last book Bolaño delivered to a publisher. And we hear there’s more “new” Bolaño to come in 2011. (Max)
My Hollywood by Mona Simpson: Simpson, author of Anywhere but Here and Off Keck Road, among others, took ten years to write this new novel about Claire, who has recently moved to Los Angeles with her husband and young son, and Lola, their Filipina nanny. In Publishers Weekly, Simpson said, “There are thousands of women who are here working, often with their own young children left behind. That leads to a whole different vision of what it is to raise a child, what’s important.” (Edan)
Hollywood by Larry McMurtry: Although Texas epicist Larry McMurtry has written dozens of novels, he’s best known for the films that have come from them: The Last Picture Show, Terms of Endearment, Hud, and the CBS colossus “Lonesome Dove.” Over the last five decades, he’s turned others’ work into triumph (Brokeback Mountain), seen his own ground into pabulum (Texasville), and written a screenplay for The Cougar (John Mellencamp’s Falling From Grace). In short, he’s a veteran of the L.A. movie wars, and in Hollywood—his third memoir in as many years—he’ll share the stories behind them. Or, at least, he should: in a harsh review of his second memoir, 2009’s Literary Life, The New York Times wrote, “Too often… Mr. McMurtry will sidle up to an interesting anecdote and then tell the reader to wait for his third and concluding memoir, Hollywood… He’ll explain then.” (Jacob)
I Curse the River of Time by Per Petterson: Petterson has been on the road to international literary stardom for a few years now and that means his new novels get translated into English with relative alacrity. The book won the Norwegian Brage prize and, according to a “sample translation” on Petterson’s agent’s website, it begins: “I did not realize that my mother had left. There was too much going on in my own life. We had not spoken for a month, or even longer, which I guess was not that unusual, in 1989, when you consider the things that went on around us back then, but it felt unusual.” (Max)
Encounter by Milan Kundera: Fans of Milan Kundera’s previous essays on the power of art (particularly that of the novel), memory, mortality, and human nature can look forward to Encounter, his newest collection, which was released in France in 2009 and will land in the English-speaking world in August. Kundera’s devotion to modernism is a particular focus here, with reflections both critical and personal on the work of established masters – Francis Bacon, Leo Janacek, Garcia Marquez, Dostoevsky, and Fellini – as well as homages to those he considers unsung, including Anatole France, Curzio, Malaparte, and Celine. (Both the Malaparte and Celine sections apparently hone in on episodes involving dogs – the dignified way in which animals face death, in contrast to human posturing and vanity – which I especially look forward to). In a review last year, Trevor Cribben Merrill described Encounter as “a self-portrait of the artist as an old man […]the most personal of Kundera’s essays.” (Sonya)
You Lost Me There by Rosecrans Baldwin: In this debut novel by the co-founder of one of The Millions’ favorite sites, The Morning News, Alzheimer’s researcher Victor Aaron discovers his late wife’s notes about the state of their marriage. Her version of their relationship differs greatly from his own, and Victor is forced to reexamine their life together. Wells Tower says the novel “is a work of lucid literary art, roisterous wit, and close, wry knowledge of the vexed circuits of the human mind and heart.” (Edan)
Sympathy for the Devil, edited by Tim Pratt: This anthology will collect stories from an impressive roster of writers — Neil Gaiman, Stephen King, Kelly Link, China Mieville, Michael Chabon, and others — with the devil being the common thread. This being a reprint anthology, fans of the individual authors included may find nothing new, though they may appreciate the clever theme and may encounter work by writers they don’t regularly read. (Max)
The Thousand by Kevin Guilfoile: While many readers might associate Guilfoile with McSweeney’s, where he’s a frequent contributor, or The Morning News, where with John Warner he provides essential commentary for the Tournament of Books, his fiction occupies a space that some readers might not associate with these latter-day literary tastemakers. Case in point, the titular Thousand are “a clandestine group of powerful individuals safeguarding and exploiting the secret teachings of Pythagoras.” That may sound like Dan Brown fodder, but you’ll be getting something much, much smarter. (Max)
Freedom by Jonathan Franzen: Freedom, Jonathan Franzen’s first novel in nearly a decade, is a love story – albeit one surrounded by more ideas and insights and plot-lines than many novelists manage in a career. As he anatomizes the marriage of Minnesotans Patty and Walter Berglund, Franzen also looks at environmentalism, politics, sex, gentrification, and the pains and pleasures of growing up. And though a youthful anger animates his writing on the Bush years, his patience with Patty, in particular, suggests a writer who has done some growing himself. Franzen’s longest book is also, for great swaths of pages, his best. (Garth)
Bound by Antonya Nelson: If two women can bond by mutual disdain for a third, then reading Antonya Nelson’s fiction is like being the second woman listening as Nelson dishes tales of family, friends, and small town life with precision, venom, and humor. Typical to Nelson is a swift and biting portrait that’s as honest as it is unsentimental–consider this line from her story “Incognito” for example: “My mother the widow had revealed a boisterous yet needy personality, now that she was alone, and Eddie, least favorite sibling, oily since young, did nothing more superbly than prop her up.” Nelson’s latest novel, Bound, returns to her hometown of Wichita, Kansas, and depicts the turmoil of a couple on the rocks–the wife haunted by her past and the husband a serial adulterer–while a serial killer, the BTK (Bound Torture, and Kill), reappears after a long silence, taking vicious to a new level. (Anne)
Zero History by William Gibson: Zero History will round out a trilogy that also includes Pattern Recognition and Spook Country. Gibson recently laid out how the three books fit into our 21st century milieu: “If Pattern Recognition was about the immediate psychic aftermath of 9-11, and Spook Country about the deep end of the Bush administration and the invasion of Iraq, I could say that Zero History is about the global financial crisis as some sort of nodal event.” (Max)
Ape House by Sara Gruen: Following her surprise hit with Water for Elephants, Gruen earned a $5 million advance for Ape House and whatever she writes next. Whether or not Gruen earns back that hefty advance, the new book sounds like madness: super smart apes — bonobos, specifically — escape a lab in an explosion and not long after, a mega-hit reality TV show appears featuring the missing apes. This reminds me of that movie Project X. (Max)
C by Tom McCarthy: One of Tom McCarthy’s many roles in addition to novelist includes acting as the General Secretary of the International Necronautical Society, who in their first manifesto declared: “our very bodies are no more than vehicles carrying us ineluctably towards death” and that “the construction of mankind’s sole chance of survival lies in its ability, as yet unsynthesised, to die in new, imaginative ways.” In keeping with these moribund tendencies, McCarthy returns with his second third novel, C, which in general terms deals with technology and mourning. In McCarthy’s own words, “C is about the age of the wireless: the roar of transmission, signals flung from towering masts, global reaches crackling out of earphones. And empire. And insects. And incest.” Simultaneously a bildungsroman and an anti-realist period novel, C follows the life of Serge Carrefax, the son of a man who runs a school for the blind, who grows up to become a WWI radio operator for reconnaissance planes, is imprisoned by the Germans, and escapes. The book jacket designer, Peter Mendelsund, claims that if MacCarthy’s first novel, Remainder, recalls Beckett then C reads like Joyce. McCarthy says that if Remainder is his French novel, then C is his German. If one can judge a book by its cover and anticipatory buzz, C will be one to remember. (Anne)
True Prep by Lisa Birnbach with Chip Kidd: The Official Preppy Handbook had that rare spark of wit that makes a good joke many things to many people. Actual preppy people were chuffed to find themselves the subject of a well-drawn lampoon (or earnestly concerned with inaccuracies), the great unwashed found an arsenal or an atlas, depending on their aspirations, and people somewhere in the middle could feel a sheepish pride in being kind of sort of related to a tribe important enough to have its own book. People with real problems, of course, didn’t care either way. Now, True Prep is upon us, and if it fulfills the 1.3 million-print run promise of its precursor, Knopf Doubleday and authors Lisa Birnbach and Chip Kidd (original collaborator Jonathan Roberts did not participate, fearing the project wasn’t true to the subversive intention of the Handbook) stand to rake it in. But the popularity of the original book, the shifting sands of American society and wealth, and the proliferation of lifestyle blogs by people with no sense of humor or irony have created a monster simulacrum of “prepdom,” one without easily defined parameters. Will the sequel be able to paint such a sharp and comic portrait as the first Handbook, or will it be yet another non-book littering the aisles of Borders? (Lydia)
All is Forgotten, Nothing is Lost by Lan Samantha Chang: Chang, who is the author of one other novel, Inheritance, and a story collection, Hunger, is also the director of the Iowa Writers’ Workshop. Perhaps the Workshop inspired her new book, which is about poets at a renowned writing school. At just over 200 pages, this slim novel examines the age-old question, “What are the personal costs of a life devoted to the pursuit of art?” (Edan)
By Nightfall by Michael Cunningham: Cunningham’s last novel Specimen Days didn’t quite replicate the critical and commercial success of The Hours. This new novel was initially called Olympia, and a long excerpt of it was published in the inaugural issue of Electric Literature. Discussing the novel, Cunningham told Entertainment Weekly, “Peter is the central character. He’s an art dealer and he finds that he is increasingly drawn to his wife’s very much younger brother, who evinces for him everything that was appealing about his wife when he first met her. He’s not gay. Well, he’s probably a little gay because we’re all a little gay, right? But it’s certainly eroticized. It’s not because he wants to f— this boy. The boy is like the young wife.” (Max)
Salvation City by Sigrid Nunez: In early 2009 in these pages, Sana Krasikov considered the contention the women aren’t known for writing novels of ideas. Her rejoinder to this was Sigrid Nunez’s The Last of Her Kind, “a book that, in addition to being beautifully written, was as much about ideas as it was about characters.” This new novel exploring a dystopia — it’s set in the near future after a flu pandemic has ravaged the world and a sheltered, but cultish community has survived the carnage — seems likely to extend Krasikov’s thesis. (Max)
The Elephant’s Journey by Jose Saramago: From the late Nobel laureate, this novel “traces the travels of Solomon, an Indian elephant given by King John III to Archduke Maximilian II of Austria.” (Max)
Nemesis by Philip Roth: This latest novel from Roth should prove to be more accessible than his last, The Humbling. The book is set during a war-time polio epidemic in Newark, New Jersey in 1944. At the center of the book is a 23-year-old playground director who sees polio ravage the children he looks after. The book has been in the works since at least early 2009, when it was first described by Roth. (Max)
Travels in Siberia by Ian Frazier: If, like me, you were wowed when you read in The New Yorker Ian Frazier’s expansive, two-part travelogue of a trip across Siberia at the turn of the millennium, then you’ll be thrilled to find out that this massive piece was likely just a small fraction of Frazier’s forthcoming 544-page book. Frazier’s entertaining guides Sergei and Volodya (they are a pair of lovable, though sometimes frightening, curmudgeons), his insistence on traveling by car (which lent Frazier’s NYer piece many comic moments but also an unimpeachable authenticity), and the moment in history when his trip takes place (he arrives at the Pacific on September 11th, 2001), seem likely to make this book a classic. (Max)
Listen to This by Alex Ross: If New Yorker music critic Alex Ross’s second book Listen to This lives up to its title essay, then we’re in for a treat. I remember being floored and invigorated by that essay in 2004; Ross’s depth of knowledge, passion, and youth – just 36 then – converted me to his cause in a blink. “I hate ‘classical music,’” he wrote, “not the thing but the name. It traps a tenaciously living art in a theme park of the past… Yes, the music can be great and serious… It can also be stupid, vulgar, and insane. Music is too personal a medium to support an absolute hierarchy of values.” In other words, no music, classical or otherwise, is categorically superior nor the moribund realm of rich ladies; all great music is by definition “something worth loving.” In Listen to This, Ross reaches beyond “classical” (his award-winning first book The Rest is Noise explored 20th century classical composers) into a more eclectic canvass — in Ross’s words, a “panoramic view” – of music worth loving, including Verdi, Brahms, Marian Anderson, Chinese classical music, Kiki and Herb, Led Zeppelin, Björk, Radiohead, Mitsuko Uchida, Esa-Pekka Salonen, and Bob Dylan. (Sonya)
Picture This: The Near Sighted Monkey Book by Lynda Barry: For the visually patient—those who inspect collage, squint into details, and willingly sift through doodles—Lynda Barry’s work is a unique gift. The cartoonist/novelist/lecturer’s Picture This: The Near Sighted Monkey Book will continue the thread begun with 2008’s What It Is, her bust-out graphic memoir-cum-instructional. As What It Is encouraged the act of writing, Picture This will push the reader to draw and remind us of the happiness it once could bring. Remember when you filled your looseleaf margins with rough Darth Vaders and ridiculous monsters? If anyone can get us to put down our phones, pick up our pencils, and get back to that pleasure, it’s Barry—whose boundless, cramming technique is evidence of both the work and reward of creation. (Jacob)
The Masque of Africa by V.S. Naipaul: V.S. Naipaul, hoping to reach “the beginning of things,” traveled to six sub-Saharan African countries and examined the belief structures found therein for The Masque of Africa, a travelogue and treatise on the role of religion in culture. Apparently Naipaul learned much from this project, which complicated his sense of an old-new dichotomy and his notion that religious practices varied greatly between nations. Naipaul’s detractors have accused him of being a colonial apologist, so it will be interesting to see how this work of non-fiction will engage with complex ideas of faith and progress, neither of which can be separated from Africa’s colonial past, nor, as Naipaul concedes, from the present-day politics of the nations he explores. (Lydia)
Doctor Zhivago by Boris Pasternak (translated by Richard Pevear and Larissa Volokhonsky): Pevear and Volokhonsky’s vigorous translations have turned new editions of the Russian greats into publishing events, and we’ve watched as their translations of classics like War and Peace and The Death of Ivan Ilyich and Other Stories climbed our otherwise contemporary-leaning top-ten lists. Last year, we interviewed the husband and wife team and got a sense of their unique process. In an interview around the same time with the Wall Street Journal, the couple called Zhivago the toughest of the 16 books they’ve translated: “The issue is the prose. It’s not that rich or ornate, but it’s extremely difficult to translate. His language is very studied. Even when it looks simple, it’s not. The sentences aren’t long or complex, but it’s the quality of the words. It’s never what you expect.” (Max)
The Great House by Nicole Krauss: Bestselling author of The History of Love, Nicole Krauss returns with The Great House, a novel about a desk that, according to the publisher’s description, “contains the secrets, and becomes the obsession, of the lives it passes through… a desk of enormous dimension and many drawers that exerts a power over those who possess it or give it away.” Krauss was one of The New Yorker’s “20 under 40” writers, and “The Young Painters,” published in the magazine’s June 28, 2010 issue, is an excerpt from her forthcoming novel. You can read a Q&A with her here. (Edan)
X’ed Out by Charles Burns: I once saw a comics panel discussion in which Charles Burns complained, fairly wryly, about the amount of effort he forces into his work: in one issue of Black Hole, he said, he spent hours applying his sharp black inks to an endpaper image of twigs—a picture that each reader would spend “maybe three seconds on,” then move along. Such frustration is understandable, but I don’t know that he was actually right. Each page, each panel, of Burns’ work claws you in; each line is unsettling in its perfection. He cannot be read casually. His newest, X’ed Out, will touch on typically Burnisan themes: quiet distress, eerie isolation, a heavy apocalyptic oddness. But, as always, the look of the book is the thing: we’ll be gripped by its feel as much as by its story—and, yes, take our time with its potent renderings of splintered boards, broken walls, and specimens shut in jars. (Jacob)
False Friends by Myla Goldberg: We included Goldberg on our own “20 under 40” list and suggested that “literary mandarins” put off by her smash-hit debut Bee Season take a look. Another opportunity to do so will arrive in October with Goldberg’s third novel. (Max)
If You’re Not Yet Like Me by Edan Lepucki: In October, Millions contributor Edan Lepucki will publish her novella If You’re Not Yet Like Me under Flatmancrooked’s New Novella imprint. The title will initially be available for limited edition presale under Flatmancrooked’s LAUNCH program, designed for emerging authors. (Max)
Luka and the Fire of Life by Salman Rushdie: In the wake of the fatwa and accompanying media frenzy that followed the publication of The Satanic Verses, Rushdie, apparently at the prodding of his then nine-year-old son, shifted gears to focus on something much less contentious, a children’s book called Haroun and the Sea of Stories. Now, twenty years later, Rushdie is returning with a sequel to the book he wrote for his son. Fatherhood has once again inspired Rushdie, who, according to bookseller.com, decided to write this new book for his “youngest son, Milan, who was born in 1999.” (Max)
Autobiography of Mark Twain: On April 21, 1910, Mark Twain died of a heart attack. His death brought to a close maybe the greatest literary life America has ever known, and it started the countdown to the publication of Twain’s autobiography, which Twain instructed was not to be released until he had been good and gone for 100 years. Well, the waiting is finally over, and from early reports it appears as though it might have taken an entire century to wrestle the mass of writing Twain left behind into publishable form. This November, the University of California Press will release the first volume in a trilogy that Twain wrote according to the rambling dictate, “talk only about the thing which interests you for the moment.” (Kevin)
The Box: Tales from the Darkroom by Gunter Grass: The publisher’s description of this one lays out its unique premise: “In an audacious literary experiment, Günter Grass writes in the voices of his eight children as they record memories of their childhoods, of growing up, of their father, who was always at work on a new book, always at the margins of their lives.” It’s another journey into autobiography for Grass, whose Peeling the Onion set off a furor in Germany and elsewhere with its revelation that Grass had been a member of the Waffen-SS during World War II. (Max)
Life Times: Stories, 1952-2007 by Nadine Gordimer: FSG will collect the “best” short fiction from the South African Nobel laureate in this hefty volume. (Max)
The Petting Zoo by Jim Carroll: Readers mourned the death of punk poet Jim Carroll last year. As Garth wrote in these pages, “Before he was a screenwriter, Carroll was a diarist, a frontman, an addict, and a poet, and he left behind at least a couple of very good books.” For Carroll fans, this posthumously published novel that takes the late-1980s art scene as its inspiration, will at the very least be another opportunity to experience his work and at best may be another one of those “very good books.” (Max)
Selected Stories by William Trevor: This volume will collect nearly 600 pages worth of short stories from this verable master of the form. (Max)
Foreign Bodies by Cynthia Ozick: This forthcoming novel from Ozick is framed as a nifty literary trick. It’s a retelling of Henry James’ The Ambassadors, but, according to the publisher’s description, “the plot is the same, [but] the meaning is reversed.” (Max)
Dead or Alive by Tom Clancy: It’s actually been seven years since the last Tom Clancy book came out, the longest gap of his career. This fact plus the usual excitement from Jack Ryan fans could make this more of a publishing event than expected. (Max)
My Prizes by Thomas Bernhard: This collection of essays was originally published in 1980 but never in the U.S. The book will be a balm to those worked up by literary prizes and the teapot tempests they tend to foment. Bernhard’s focus here is the myriad prizes he collected and his bemused, sardonic reaction to them. The book seems likely to stand as an irreverent footnote at the intersection of 20th century literary history and 20th century publishing culture. A review of the German edition of the book suggests: “Although it’s a barrel of laughs, it’s also a serious book about what drove Bernhard to become the writer he eventually turned out to be.” (Max)
Swamplandia! by Karen Russell: Karen Russell was just 23 when she had a story in The New Yorker’s 2005 debut fiction issue. Since then, she has published an acclaimed collection of stories, St. Lucy’s Home for Girls Raised by Wolves, and been named to The New Yorker’s 20 writers under 40 list. With the accolades already piled sky high, this will be one of the more anticipated debut novels in recent years. The publishers’ description suggests we should expect big, ambitious things: “think Buddenbrooks set in the Florida Everglades.” (Max)
Townie: A Memoir by Andre Dubus III Dubus, already much feted for his short stories and novels, will be trying his hand at the memoir. In this case, the trajectory is from hard-bitten youth to redemption in writing. Fans can expect perhaps to gain some insights into the genesis of Dubus’ fiction. (Max)
You Think That’s Bad: Stories by Jim Shepard: You Think That’s Bad will be Shepard’s fourth collection of short stories, and from the Knopf catalogue description, it sounds like it won’t disappoint; there’s a story about a farm boy who “becomes the manservant of a French nobleman who’s as proud of having served with Joan of Arc as he’s aroused by slaughtering children”–need we say more? Shepard’s previous collection, Like You’d Understand, Anyway, was nominated for the National Book Award. (Edan)
The Tiger’s Wife by Tea Obreht: Obreht secured a special place in the literary pantheon not just by being on The New Yorker’s recent 20 under 40 list, but by being, at 25, the youngest one on it. With her debut novel, readers will get a larger sense of what the praise for Obreht is all about (an excerpt of the novel, in the form of a peculiar story of the same title, appeared in the magazine last year). (Max)
The Pale King by David Foster Wallace: When he died in September 2008, David Foster Wallace left behind more than 1,000 pages of notes and drafts of an unfinished novel that he had given the preliminary title The Pale King. The book had been in progress for more than a decade and one of the last things Wallace did before taking his own life was to tidy what he written so that it would be easier to sort after he was gone. Since then the manuscript has been in the hands of Michael Pietsch, Wallace’s longtime editor at Little, Brown, and it is expected that a version of the book running about 400 pages will be published late this year or early next. Four confirmed excerpts from The Pale King have appeared in The New Yorker and Harper’s. They suggest a story centered around IRS agents at a Midwestern processing office struggling to deal with the “intense tediousness” of their work. (Kevin)
There are many other exciting books coming out in the coming months not mentioned here – let us know what books you are most looking forward to in the comments section below.