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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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Women Have Always Been at the Center of Upheavals: Amber Tamblyn in Conversation with Janet Fitch
Amber Tamblyn and Janet Fitch first met at a tiki bar in Los Angeles in 2010, when Tamblyn was seeking the movie rights to Fitch’s second novel, Paint It Black, which became Tamblyn’s directorial debut. Since then, the two have had an ongoing conversation about feminism, politics, history, aesthetics, sexuality, cinema, tiki drinks, and life in our times. This year, both have new books—Tamblyn’s memoir of political awakening, The Era of Ignition: Coming of Age in a Time of Rage and Revolution, and Fitch’s novel Chimes of a Lost Cathedral, the second part of a duet set during the Russian Revolution, which began with The Revolution of Marina M.
The conversation continues here:
Amber Tamblyn: Janet, you have inspired a generation of feminist writers with works like Paint It Black and White Oleander. Your latest book, Chimes of a Lost Cathedral, the follow up to The Revolution of Marina M., is a full-throttle culmination of all the powerful ways in which you have written dangerously as an author, and also written dangerous female characters. What about this latest collection feels different to you than the stories about women you have told before?
Janet Fitch: My books have always had a feminist orientation, girls and women at agency in their own lives, grappling for meaning and a moral philosophy—though they would not have called it that. But up to recently, I’d written about my characters in a kind of isolation. Though they were impinged on by the structures of society, the thinness of social nets, or class issues as in Paint It Black, it was always about the drama of a few isolated individuals. Ingrid Magnussen, the rebel, was the only one who thought directly about the larger political structures.
But in the books set in the Russian Revolution, my young women, especially my protagonist, poet Marina, and her radical friend Varvara, think directly about society and its future, and their part in its unfolding. Women made the Russian Revolution. They were the ones who said, “No more.” When the women say it’s time, it’s time. They were an essential part of the new government—something that had not been seen in the world before, ever. I often use the voice of the bread queue as my Greek chorus, women expressing the temper of the times. Varvara at 19 is a responsible part of the Bolshevik government. Marina at 17 is already on her own, finding an absolutely new way of living in the world. Their friend Mina is the head of household, making decisions that will affect everyone around her. These women are forces in the world.
I think what all my books have in common is that I take the internal lives and moral development of women with utmost seriousness. What’s different in Marina M. and Chimes of a Lost Cathedral is the extent to which they are directly involved in the social upheaval, the way these questions become inescapable.
AT: This is so fascinating and true: Women have always been at the center of upheavals throughout history. We are seeing that now in the United States in politics as well, where women are finding themselves in unprecedented and necessary positions of power—especially black and brown women such as Ayanna Pressley and Alexandria Ocasio-Cortez—Women who are our nation's Varvaras and Marinas; agitators and accomplices to the much needed change we have craved for so long. It's one of the things that drew me to one of your previous novels, Paint It Black, because it wasn't just a love story or a grief story or a revenge story—it's a story about a revolution. In that case, an emotional and spiritual one, driven by class.
JF: What was it that drew you to Paint It Black, made you itch to make it into a film—this gothic-Noir story about class and rage and female connection in the aftermath of a suicide? What made it worth fighting for?
AT: What made it worth fighting for was the fact that I knew it tapped into a kind of volatility and conflict story often not reserved for women characters portrayed in film—a volatility and complexity that transcends how, exactly, women are allowed to behave and be shown on screen. Paint It Black was about the ugliness of trauma, the underbelly of shame, and how complicated it is for women to confront these things, both in each other and in themselves. I find a lot of value and charge in the uglier sides of women's thinking and behavior, and the parts of our violence that have not yet been explored or told. What do you find most thrilling and most difficult about the writing process itself?
JF: The most thrilling is when you’re writing and the suddenly, the angels sing. The writing takes you up and flings you into the air. There’s a rhythm and a sound—it’s like flying, it’s like jazz, what it must be to be Miles Davis out there playing a horn solo, feeling the music pouring through you. You can’t make it happen, but it does happen more often when you’ve been working very, very hard. Something takes over, you find you’re no longer standing on the ground, and that sound is coming through you. It’s the most glorious feeling, Like the Muse is breathing through you, through your hands.
The hardest is when you find that you’ve written yourself into a dead end, it’s not going to work, it’s never going to work, and you have to tear it all out back to the crossroads, where you first went wrong. That is a tough place to be. Also when you’ve been writing a long time, five years, seven years, and you wonder if this is ever going to come together, whether you have the chops to pull it off, and why did you decide to do this in the first place? I had many a moment like that.
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AT: Where do you get your inspiration to write during this age of Trump and a world that continuously asks for women’s silence over their rage?
JF: Like other artists, I am by nature rebellious. Even as a kid, I was more likely to get thrown out of class for insubordination than sit there politely with my hand up in the air, hoping teacher would call on me. This has always been my inspiration to write—the rage to be heard, for others to see the world through my eyes. But my inspiration to write has been yanked into hyper drive by this current outpouring of lies and cruelty. It makes me want to slap truth up against it, to stir people’s humanity against the brutality.
Yet I’m a writer of fiction. Historically, poets have been literature’s first responders. Poetry is about the unpacking of a moment, turning it around in your hand, letting it catch the light like a prism. Essayists are also quick to respond. They’re already duking it out with this current disaster. But novelists are much slower. It takes us time to process, and find a narrative that can contain the bigger movements of the times. The danger for many fiction writers is to think we’re irrelevant if we don’t react immediately to every outrage.
But not every writer is a fast writer. What we have to remember is that the times are like the terroir in which our vineyards grow. If we’re writing deeply and honestly enough, our work can’t help but take on the flavor and the temper of the times and say something significant about it.
A mythic battle is being waged now, between truth and the lie, between real reality and claims of “fake news,” between science and commerce under the guise of religion, between reason and propaganda, women and people of color succeeding in making their power felt vs. the struggle of the old white male hegemony to maintain power. I think this epic struggle is going to touch everything being written now. Dark secrets will come to light, or be stuffed down again. Corruption will sink a family. A curtain will be torn back in a relationship. A man’s assumptions about the world will be broken open. The inspiration of this time will manifest in a million ways.
Women are breaking taboos—don’t talk about that! They’re rebelling against the old truisms. It’s the way of the world. Boys will be boys. We’re seeing how deadly those statements are and how foundational they are to our culture, as women hold a mirror to that behavior and say “we won’t pretend anymore. We will not be silent.” Even the act of holding the mirror is subverting the claim that our voices don’t matter.
Your last book of poetry, Dark Sparkler, examined the culture's consumption of young women. Your first book of prose, the genre-bending novel Any Man, widened the discussion by putting men into a similar position—victims of not only of rape but the culture of rape. Now you’ve written what I would call a political coming of age memoir, a straight-up call to action, Era of Ignition. What was the progression here, what was the evolution?
AT: I think, similarly to you and many women like us, I also grew up feeling rebellious. I used to constantly get in trouble for, "my mouth," for the things I would say as a kid, for the ways I pushed boundaries. Even from a young age as a child actress, I rebelled against my own industry and its sexism. I was already writing poems and chapbooks on the treatment of women and girls in Hollywood. The first poem I ever wrote, which you can find in my first collection of poems, Free Stallion, called "Kill Me So Much" was written at age 12 and is a complete confrontation with the fakeness and cruelty of the entertainment business. I was constantly doing this as a kid, in my writing, but also in life, when I felt something was not just.
Once when I was starring on the television program Joan of Arcadia, I said something publicly about then-CEO Les Moonves, criticizing the direction he had forced our show to go in because he wanted the teen demographic; he had tried to dumb it down by forcing us to do stunt cast (when you cast famous people simply because they are famous). Immediately my manager and agent and everyone on my team freaked out and told me I had to apologize to him. He was extremely powerful at that point and no one wanted him to feel called out by the star of his own television show—a young 21-year-old girl, for that matter. But I refused. Instead of writing him an apology note, I wrote him and double downed. I told him why I thought what he was doing was dangerous for the long-term success of the show and how it might alienate viewers and the real fans who watched us every week because we had an important story to tell, and were telling it in a way that no one had really done before. I tell you this story to say: I am with you on the rebellion stuff and believe that if any of us can afford to put our necks on the line, because of our privilege or access or whatever the reason may be, then we absolutely must. Especially if it's in the name of protecting another person or protecting art.
Have you ever thought about writing something in another medium? Like, say, a screenplay? Or a book of poems?
JF: I actually went to film school for 3.5 seconds. A disaster. As a screenwriter, I’m a novelist. I think my first screenplay was 185 pages. I like to be god of my own planet. Screenwriting is a scaffold for other people to build on. Too spare and elegant a form for me. I’m in love with describing the world, being able to go wherever I need to go, invading the characters’ heads, using language in its beautiful, powerful extremes. I’d be more likely to write a book of poetry. I like the power and compression of it, the way you can unfold a moment, sink deep inside. I wrote all the fictional characters’ poetry in The Revolution of Marina M. and in Chimes of a Lost Cathedral. Marina M. in fact started out as a novel in verse. I write a lot of narrative poetry. Maybe I’ll come out of the poetry closet sometime.
AT: This is a brilliant answer. Is there a single instance you can remember early on in your childhood or your teenage years that propelled you into not just wanting to be a writer, but wanting to write the stories of dangerous women?
JF: I still remember my rage and my shame when a substitute teacher challenged my class to name a single woman writer, and I couldn’t think of any. How smug he was—until a girl in the front row raised her little hand and said, “What about Anaïs Nin?” He just stared at her…and changed the subject. That very night, I got my parents to take me up to Pickwick Bookstore and bought the boxed set of The Diaries of Anaïs Nin. I remember the picture on the side of the box, Nin with her strange, Kabuki-like makeup and false eyelashes. I lost myself in those books. She was the future I wanted for myself. Unapologetically sexual, a lover of beauty, creator of a new language—a woman treating herself as subject, rather than object. Determined to have the life she wanted, valuing her own search. I must have always held that picture of her in my mind. When I woke up in the middle of the night on my 21st birthday and decided I was going to be a writer, it was Nin I imagined. She stood for the dangerous woman, the self-driven consciousness, determined to find her own unique path, no matter what.
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AT: This is such a badass story. And in your quest to find a woman writer to connect with, you turned your very own life into subject, rather than what could've been object. You became the propeller of your own trajectory.
JF: You’re a tireless battler for justice, yourself—I’ve seen you going out on the campaign trail for Hillary nine months pregnant, riding those buses. You just came back from the border where you spoke to women in a shelter for women and children recently released from detention camps. You talk to women everywhere you go, encouraging them to step up, or to help another woman step up. I have a collage in my study, portraits of women I admire for owning their own power, with a caption I found in some magazine, “What gave her the nerve to send back the espresso?” So, what gives you the nerve to send back the espresso?
AT: What gives me the nerve is watching the suffering all around me every single day, whether it's immigrant children being separated from their parents on the first day of school by ICE, or whether it's the suffering of the Amazon burning to the ground while we sit around making up jokes about the size of Donald Trump's hands. I get it: we all need a check-out sliding scale. We all need a minute to focus on the shallow, or to be cruel back, in response to a cruelty we cannot control. But I have always tried to use my anger as part of my creative tool—no, weapon—and I know no other fight than the fight we are all in now. Because it is the one we have always been in. It is a fight that lives in my DNA, the make-up of every woman who lived before me so that I could exist today. And so I'm done with the politeness of swallowing my fury for the comfort of others. If the Amazon is going to burn to the ground, then so am I. And I will do everything in my power to continue to show up for the world, and other people who need showing up for, even if the world does not always give that in return. Silence is not death. Complacency is.
I'd like to close this interview by writing a short story with you, based on some themes in our interview, in real time. You heard me. Just something off the tops of our heads. Let the readers of our interview see if they can figure out where I end and you begin. Ready? Here we go:
AT and JF: Edwin sat on his porch drenched in sap and sweat, staring across the new tree line he had spent all day cutting for his back yard. Without those few extra trees in the way, you could really see solid skyline. Edwin took a sip of something cool and wiped his dripping forehead with something soft.
In the distance he could hear the ground's crunch, the sound of something moving up through the woods. Deer, maybe. Although deer don't usually make that much sound. A bear, he thought. But what bears are in this area? Above the ground, high up in the air, Edwin heard small branches begin to break from their larger trunks. Edwin paused his heavy breathing to listen closer, to try and hear what was coming. All around him, branches severed themselves, large and small, and fell to the ground making the sound of giant birds crashing to Earth. Edwin rubbed his eyes, trying to understand what was happening. Was he dreaming? He stood up, the glass of something cool dropping from his hands and shattering on the ground. He looked around at his beautiful trees, now branchless. Bare.
One by one, each branch began to move. To lift their own wooded bodies. To stand, like men. Edwin stepped back and braced a hand against the doorframe of his house, his mouth frozen ajar. He watched as an army of twigs slowly made their way toward him, as if alive, as if embodied. Some even rolled. One by one, they piled themselves on top of each other right in front of him, at the bottom of his steps. They piled for so long, and so high, he could no longer see his precious sky. When they were finished, a silence struck the entire forest. Not even a bird called to its mother. Not even the stream heckled its rocks. Edwin began to tremble, then cough. He coughed until he felt something loosen from his throat. He dropped to his knees lunging his body forward, until finally from the depths of his throat, out fell a matchstick.
What did they want from him? He was sorry! He was so sorry. He hadn’t realized this could happen. They were just trees! Blocking his view of the city. That million-dollar view. Actually $2.5 million but this was not the moment to quibble. A few trees more or less, he’d thought—what difference would it make? A little more yard, a little more for him. Don’t do it Daddy, little Rachel had said, crying, hugging the whatever it was, crabapple. Winesap.
He knelt and wept. Don’t kill me. He’d loved those trees, he didn’t know how angry they would be, that they would strip their very limbs in fury. So he’d cut a few, editing the view. Isn’t that what people called it? Buying the skyline, a little more light, a little less lawn litter, those berries that stuck to the kids’ feet, the leaves he had to rake in the fall, those fucking little apples.
Now the branches where whispering to each other. Rattling their leaves, shaking as if there was a wind through this ghastly wall of torn limbs—though there was no wind.
The match ignited itself. It stood up on his back step, the smallest tree of all.
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