2014 has already offered a literary bounty for readers, including new books by E.L. Doctorow, Lorrie Moore, Teju Cole, and Lydia Davis. The second-half of 2014 is looking even more plentiful, with new books from superstars like Haruki Murakami, David Mitchell, Ian McEwan, Marilynne Robinson, Denis Johnson, Hilary Mantel, Margaret Atwood and quite a few more. Here at The Millions, we’re especially excited that three of our long-time staff writers — Edan Lepucki, Bill Morris, and Emily St. John Mandel — will soon have new books on shelves. All three books are winning impressive advance praise.
The list that follows isn’t exhaustive – no book preview could be – but, at over 8,000 words strong and encompassing 84 titles, this is the only second-half 2014 book preview you will ever need. Scroll down and get started.
California by Edan Lepucki: Millions staffer Edan Lepucki’s first full-length novel has been praised by Jennifer Egan, Dan Chaon, and Sherman Alexie, and championed by Stephen Colbert, who’s using it as a case study in sticking it to Amazon. A post-apocalyptic novel set in a California of the not-too-distant future, California follows a young couple struggling to make it work in a shack in the wilderness — dealing with everyday struggles like marriage and privacy as much as dystopian ones likes food and water — until a change in circumstance sends them on a journey to find what’s left of civilization, and what’s left of their past lives. (Janet)
Motor City Burning by Bill Morris: Bill Morris made his literary debut 20 years ago with Motor City, a novel set amid the rich history of 1950s Detroit. Since then, he’s pursued various other interests, writing a novel set in Bangkok and contributing frequently to The Millions as a staff writer. But as anyone who follows Bill’s essays can tell you, his hometown is rarely far from his mind. Now, with the Motor City much in the news, he returns to explore class, race, bloodshed and baseball in the 1960s. (Garth)
The Land of Love and Drowning by Tiphanie Yanique: Tiphanie Yanique follows her much lauded story collection, How to Escape From a Leper Colony, with “an epic multigenerational tale set in the U.S. Virgin Islands that traces the ambivalent history of its inhabitants during the course of the 20th century.” That’s according to Publishers Weekly, who gave The Land of Love and Drowning a starred review. Yanique’s debut novel has been receiving raves all over the place; in its starred review, Kirkus called it, “Bubbling with talent and ambition, this novel is a head-spinning Caribbean cocktail.” (Edan)
Friendship by Emily Gould: Gould, who put the gawk in Gawker in the middle part of the last decade, turns to fiction with a debut novel that at times reads like a series of blog entries written in the third person. In the novel, two friends, Bev and Amy, are trying to make it as writers in New York when Bev gets pregnant. The question of whether Bev should keep the baby, and what Amy should think about the fact that Bev is even considering it, turns the novel into a meditation on growing up in a world built for the young. (Michael)
Last Stories and Other Stories by William T. Vollmann: Vollmann has over 30 years and damn near as many books earned a reputation as a wildly prolific novelist. Still, almost a decade has passed since his last full-length work of fiction, the National Book Award-winning Europe Central. Here, he offers what may have started as a suite of ghost stories… but is now another sprawling atlas of Vollmann’s obsessions. Stories of violence, romance, and cultural collision are held together by supernatural elements and by Vollmann’s psychedelically sui generis prose. (Garth)
High as the Horses’ Bridles by Scott Cheshire: To the distinguished roster of fictional evangelicals — Faulkner’s Whitfield, Ellison’s Bliss — this first novel adds Josiah Laudermilk, a child-prodigy preacher in 1980s Queens. Cheshire makes huge leaps in time and space to bring us the story of Laudermilk’s transformation into an adult estranged from his father and his faith. (Garth)
The Hundred-Year House by Rebecca Makkai: The second novel from Rebecca Makkai (after 2011’s The Borrower) moves back and forth in the 20th century to tell a story of love, ghosts, and intrigue. The house for which The Hundred-Year House is named is Laurelfield, a rambling estate and former artists’ colony in Chicago’s wealthy North Shore. Owned by the Devohr family for generations, it now finds Zee (née Devohr) and her husband returning to live in the carriage house while she teaches at a local college and he supposedly writes a poet’s biography. What he does instead is ghostwrite teen novels and uncover family secrets. (Janet)
Tigerman by Nick Harkaway: Having written about ninjas, spies in their eighties and mechanical bees in his last two novels, Nick Harkaway is in a tough spot if he wants to top himself this time around. All the indications are that he may have done it, though — Tigerman sees a powerful United Nations carry out a cockamie plan to wipe out a former British colony. The protagonist, a former British soldier, takes it upon himself to fight for his patch of the old empire. (Thom)
Panic in a Suitcase by Yelena Akhtiorskaya: Yelena Akhtiorskaya is one of New York’s best young writers — funny and inventive and stylistically daring, yes, but also clear-eyed and honest. Born in Odessa and raised in Brighton Beach, she’s been publishing essays and fiction in smart-set venues for a few years. Now she delivers her first novel, about two decades in the life of a Ukrainian family resettled in Russian-speaking Brooklyn. An excerpt is available at n+1. (Garth)
The Great Glass Sea by Josh Weil: “And then one day when the lake ice had broken and geese had come again, two brothers, twins, stole a little boat and rowed together out towards Nizhi.” In an alternate Russia, twin brothers Yarik and Dima work together at Oranzheria, the novel’s titular “sea of glass” greenhouse, until their lives veer into conflict. Weil’s exquisite pen and ink illustrations “frame the titles of all 29 chapters and decorate the novel’s endpapers,” making the book, literally, a work of art. If The New Valley, Weil’s lyric first book of linked novellas, is any indication, this new book will be memorable. (Nick R.)
Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami: Murakami’s previous novel, 1Q84, was a sprawling, fantastical work. His latest is just the opposite: a concise, focused story about a 37-year-old man still trying to come terms with a personal trauma that took place seventeen years earlier — when he was unceremoniously cut out of a tight knit group of friends. The novel has less magical strangeness than most Murakami books, and may be his most straightforward tale since Norwegian Wood. (Kevin)
We Are Not Ourselves by Matthew Thomas: Thomas spreads his canvas wide in this 640-page doorstop of a novel, which follows three generations of an Irish American family from Queens, but at heart the book is an intimate tale of a family’s struggle to make its peace with a catastrophic illness that strikes one of its members at precisely the wrong moment. Simon & Schuster spent more than a million dollars on this first novel whose author was then teaching high school in New York, thus assuring that the book will either be the fall’s Cinderella story or a poster child for outsized advances given to untested authors. (Michael)
Bad Feminist by Roxane Gay: Is it “the year of Roxane Gay?” Time suggested it in a review of Gay’s new novel, An Untamed State; when asked (in a self-interview) how that made her feel, she said, “First, I tinkled on myself. Then my ego exploded and I am still cleaning up the mess.” It’s as good a glimpse as any into the wonder that is Roxane Gay — her Twitterstorms alone are brilliant bits of cultural criticism, and her powerful essays, on her blog, Tumblr, and at various magazines, leave you with the sense that this is a woman who can write dazzlingly on just about any topic. In her first essay collection, we’re promised a wide-ranging list of subjects: Sweet Valley High, Django Unchained, abortion, Girls, Chris Brown, and the meaning of feminism. (Elizabeth)
The Kills by Richard House: House’s vast tetralogy, at once a border-hopping thriller and a doorstopping experiment, was longlisted for last year’s Man Booker Prize in the U.K. Taking as its backdrop the machinery of the global war on terror, it should be of equal interest on these shores. (Garth)
Before, During, After by Richard Bausch: Since 1980, Richard Bausch has been pouring out novels and story collections that have brilliantly twinned the personal with the epic. His twelfth novel, Before, During, After, spins a love story between two ordinary people – Natasha, a lonely congressional aide, and Michael Faulk, an Episcopalian priest – whose affair and marriage are undone by epic events, one global, one personal. While Michael nearly dies during the 9/11 terrorist attacks, Natasha’s error on a Caribbean shore leads to a private, unspeakable trauma. As the novel unspools, Before and During prove to be no match for After. (Bill)
Your Face In Mine by Jess Row: Possibly inspired by the ageless Black Like Me, Jess Row tells the story of Kelly Thorndike, a native Baltimorean who moves back to his hometown and discovers that an old friend has gotten surgery to change his race. At one time a skinny, white, Jewish man, Martin is now African-American, and he’s kept his new identity secret from his friends and family. Martin tells Kelly he wants to come clean, and the two become mired in a fractious, thought-provoking controversy. (Thom)
Flings by Justin Taylor: “Our faith makes us crazy in the world”; so reads a line in The Gospel of Anarchy, Taylor’s novel about a Florida commune of anarchist hippies. The original sentence comes from Don DeLillo’s Mao II, an appropriate literary mentor — Taylor is equal parts hilarious and prescient, capable of finding the sublime in the most prosaic, diverse material. On the first page of the collection’s title story alone: labor history, love, and “an inspired treatise on the American government’s illegal 1921 deployment of the Air Force to bomb striking mine workers at Blair Mountain, West Virginia.” (Nick R.)
Augustus by John Williams: There are things that are famous for being famous, such as the Kardashians, and then there are things that are famous for being not famous, such as John Williams’s Stoner. Since its publication in 1965, the “forgotten” work has enjoyed quite a history – metamorphosing from under-appreciated gem into international bestseller and over-praised classic. Indeed, it’s forgivable at this point to forget that Williams’s most appreciated work was actually his final novel, Augustus, which split the National Book Award and earned more praise during its author’s lifetime than his other books put together. Interestingly, readers of both Stoner and Butcher’s Crossing will here encounter an altogether new version of the John Williams they’ve come to know: Augustus is an epistolary novel set in classical Rome. It’s a rare genius who can reinvent himself in his final work and earn high praise for doing so. (Nick M.)
Alfred Ollivant’s Bob, Son of Battle by Lydia Davis: In the early 1900s, Bob, Son of Battle became a popular children’s tale in England and the United States. Focused on a young boy caught up in a rivalry between two sheepdogs on the moors between Scotland and England, the story eventually found its way into Lydia Davis’s childhood bedroom. Alas, the years have not been kind to the thick Cumbrian dialect in which it was written (“hoodoo” = “how do you do” and “gammy” = “illness,” e.g.) and the work fell out of popularity as a result. Now, however, Davis has updated the work into clear, modern vernacular in order to bring the story to an entirely new generation of readers, and perhaps the next generation of Lydia Davises (if one could ever possibly exist). (Nick M.)
Station Eleven by Emily St. John Mandel: Station Eleven is Millions staff writer Emily St. John Mandel’s fourth novel, and if pre-publication buzz is any indication, it’s her best, most ambitious work yet. Post-apocalyptic tales are all the rage this season, but Mandel’s intricate plotting and deftness with drawing character makes this novel of interlinked tales stand out as a beguiling read. Beginning with the onslaught of the deadly Georgian flu and the death of a famous actor onstage, and advancing twenty years into the future to a traveling troupe of Shakespearean actors who perform for the few remaining survivors, the novel sits with darkness while searching for the beauty in art and human connection. (Anne)
The Secret Place by Tana French: People have been bragging about snagging this galley all summer, and for good reason: Tana French’s beautifully written, character-driven mysteries about the detectives of the Dublin Murder Squad are always a literary event. Her latest concerns a murder at an all girls’ school, and detective Frank Mackey’s daughter Holly might just be a suspect. My fellow staff writer Janet Potter said The Secret Place is damn good, and if you’re smart you will trust Janet Potter. (Edan)
The Bone Clocks by David Mitchell: David Mitchell has evidently returned to his genre-, time-, and location-bending best with a novel that weaves the Iraq War with punk rock with immortal beings with the End Times. This is a novel that had Publisher’s Weekly asking, “Is The Bone Clocks the most ambitious novel ever written, or just the most Mitchell-esque?” A tall order, either way. A thrill, either way. (Lydia)
Not That Kind of Girl by Lena Dunham: The creator, producer and star of the HBO series Girls — and also, it must be stated, an Oberlin College graduate — has penned a comic essay collection à la David Sedaris or Tina Fey… though something tells me Dunham’s will be more candid and ribald. As Lena herself writes: “No, I am not a sexpert, a psychologist, or a registered dietician. I am not a married mother of three or the owner of a successful hosiery franchise. But I am a girl with a keen interest in self-actualization, sending hopeful dispatches from the front lines of that struggle.” Amen, Lena, amen! (Edan)
The Paying Guests by Sarah Waters: After her masterful handling of the haunted house story in The Little Stranger, Waters again taps into the narrative potential of domestic intrusion. This time, it’s lodgers rather than ghosts who are the nuisance. In 1922, a cash-strapped widow and her spinster daughter living by themselves in a large London house let out rooms to a young couple. Annoyances and class tensions soon ignite in these combustible confines, and from the looks of it, the security deposit won’t even begin to cover the damages. The novel promises to be a well-crafted, claustrophobic thriller. (Matt)
The Children Act by Ian McEwan: McEwan’s thirteenth novel treads some familiar ground — a tense moral question sits at the heart of the narrative: whether it is right for parents to refuse medical treatment for their children on religious grounds. Discussing the novel at the Oxford Literary Festival this past spring, McEwan said that the practice was “utterly perverse and inhumane.” It’s not the first time McEwan has expressed displeasure with religion: in 2005 he told the Believer he had “no patience whatsoever” for it; three years later, he made international news discussing Islam and Christianity, saying he didn’t “like these medieval visions of the world according to which God is coming to save the faithful and to damn the others.” (Elizabeth)
10:04 by Ben Lerner: Ben Lerner follows the unexpected success of his superb first novel Leaving the Atocha Station with a book about a writer whose first novel is an unexpected success. Which is actually something like what you’d expect if you’d read that superb and unexpectedly successful first novel, with its artful manipulations of the boundaries between fiction and memoir. The suddenly successful narrator of 10:04 also gets diagnosed with a serious heart condition and is asked by a friend to help her conceive a child. Two extracts from the novel, “Specimen Days” and “False Spring,” have run in recent issues of the Paris Review. (Mark)
Stone Mattress: Nine Tales by Margaret Atwood: Some fans will remember well the titular story in Atwood’s forthcoming collection, which was published in the New Yorker in December of 2011, and which begins, in Atwood’s typical-wonderful droll fashion: “At the outset, Verna had not intended to kill anyone.” With this collection, according to the jacket copy, “Margaret Atwood ventures into the shadowland earlier explored by fabulists and concoctors of dark yarns such as Robert Louis Stevenson, Daphne du Maurier and Arthur Conan Doyle…” If you aren’t planning to read this book, it means you like boring stuff. (Edan)
The Assassination of Margaret Thatcher: Stories by Hilary Mantel: Just this month, Mantel was made a dame; the reigning queen of British fiction, she’s won two of the last five Man Booker Prizes. But Mantel’s ascension to superstardom was long in the making: she is at work on her twelfth novel in a career that’s spanned four decades. This fall sees the publication of her second collection of short stories, set several centuries on from the novels that earned her those Bookers. Her British publisher, Nicholas Pearson, said, “Where her last two novels explore how modern England was forged, The Assassination of Margaret Thatcher shows us the country we have become. These stories are Mantel at her observant best.” (Elizabeth)
The Dog by Joseph O’Neill: In his first novel since his 2008 PEN/Faulkner-winning Netherland, about a Dutch immigrant in post 9/11 New York, O’Neill tells another fish-out-of-water tale, this time about a New Yorker who takes a job as a “family officer” for a wealthy family in Dubai. Surrounded by corruption and overwhelmed by daily life in the desert metropolis, the narrator becomes obsessed with the disappearance of another American in what Publishers Weekly calls “a beautifully crafted narrative about a man undone by a soulless society.” (Michael)
Barbarian Days by William Finnegan: William Finnegan is both a journalist’s journalist and one of the New Yorker’s most consistently engaging voices. Over the years, he’s written about everything from apartheid in South Africa to the broken economy at home (Cold New World now looks prophetic). My favorite of his New Yorker pieces, though, is an insanely long memoir about surfing (Part 1; Part 2) that, legend has it, was crashed into the magazine just before the arrival of Tina Brown as editor. Two decades on, Finnegan returns to this lifelong passion, at book length.
Wittgenstein, Jr. by Lars Iyer: With their ingenious blend of philosophical dialogue and vaudevillian verve, Iyer’s trilogy, Spurious, Dogma and Exodus, earned a cult following. Wittgenstein, Jr. compacts Iyer’s concerns into a single campus novel, set at early 21st-century Cambridge. It should serve as an ideal introduction to his work. (Garth)
The Emerald Light in the Air by Donald Antrim: No one makes chaos as appealing a spectacle as Antrim, whether it’s unloosed on the dilapidated red library from The Hundred Brothers, its priceless rugs, heraldic arms and rare books threatened by drunken siblings and a bounding Doberman; the pancake house from The Verificationist; or the moated suburban neighborhood from Elect Mr. Robinson for a Better World. His latest is a collection of stories written over the past fifteen years, each of which was published in the New Yorker. The Emerald Light in the Air demonstrates that Antrim’s controlled anarchy translates beautifully to the shorter form. (Matt)
Hold the Dark by William Giraldi: Having built a reputation for critical savagery following the hatchet he sank into a pair of Alix Ohlin books in the Times in 2012, Giraldi puts his own neck on the line with this literary thriller set in a remote Alaskan village where wolves are eating children. Billed as an “Alaskan Oresteia,” the novel follows a pair of men, one an aging nature writer, the other a returning soldier, who come to learn secrets “about the unkillable bonds of family, and the untamed animal in the soul of every human being.” That sound you hear is the whine of blades touching grindstones across literary America. (Michael)
Barracuda by Christos Tsiolkas: The title of Christos Tsiolkas’s fifth novel — his first since the international bestseller, The Slap — is a nickname for Daniel Kelly, an Australian swimming prodigy so ruthless in the water that he gets likened to the sharp-toothed, predatory fish. But Daniel’s Olympic ambitions are thwarted by a crime whose nature Tsiolkas hints at but shrewdly withholds. This novel, like all of Tsiolkas’s work, is a vigorous, sometimes vicious argument about what it means to be Australian. As one character concludes, “We are parochial and narrow-minded and we are racist and ungenerous and…” It gets worse, gorgeously worse. (Bill)
Prelude to Bruise by Saeed Jones: You’re showing your age and (lack of) internet bona fides if you admit that you’re unfamiliar with Jones’s work. For years now the Buzzfeed LGBT editor has been lighting it up at his day job, and also on Twitter, with a ferocity befitting his name. Now, after earning praise from D.A. Powell and after winning a NYC-based Literary Death Match bout, Jones will use his debut collection to prominently display his poetry chops. (Ed. note: check out an excerpt over here.) (Nick M.)
Faithful and Virtuous Night by Louise Glück: The UK publisher (Carcanet) of Louise Glück’s newest collection — her twelfth — describes the poems as “a sequence of journeys and explorations through time and memory.” Macmillan describes it as “a story of adventure, an encounter with the unknown, a knight’s undaunted journey into the kingdom of death; this is a story of the world you’ve always known… every familiar facet has been made to shimmer like the contours of a dream…” In other words, Glück’s newest work is interested in a kind of reiterative, collage-like experience of narrative — “tells a single story but the parts are mutable.” (Sonya)
Gangsterland by Tod Goldberg: In Goldberg’s latest novel, infamous Chicago mafia hit man Sal Cupertine must flee to Las Vegas to escape the FBI, where he assumes the identity of… Rabbi David Cohen. The Mafia plus the Torah makes for a darkly funny and suspenseful morality tale. Goldberg, who runs UC Riverside-Palm Desert’s low residency MFA program, is also the author of Living Dead Girl, which was an LA Times Fiction Prize finalist, and the popular Burn Notice series, among others. The man can spin a good yarn. (Edan)
Happiness: Ten Years of n+1 by Editors of n+1: Happiness is a collection of the best pieces from n+1’s first decade, selected by the magazine’s editors. Ten years is a pretty long time for any literary journal to continue existing, but when you consider the number of prominent younger American writers who have had a long association with the magazine, it’s actually sort of surprising that it hasn’t been around longer. Chad Harbach, Keith Gessen, Benjamin Kunkel and Elif Batuman all launched their careers through its pages. Pieces by these writers, and several more, are included here. (Mark)
Neverhome by Laird Hunt: According to letters and accounts from the time, around 400 women disguised themselves as men to fight in the Civil War. Years ago, Laird Hunt read a collection of one of those women’s letters, and the idea for this novel has been germinating ever since. It tells the story of Constance Thompson, a farm wife who leaves her husband behind, calls herself Ash and fights for the Union. Neverhome is both a story about the harrowing life of a cross-dressing soldier, and an investigation into the mysterious circumstances that led her there. (Janet)
My Life as a Foreign Country by Brian Turner: Brian Turner served for seven years in the US Army, spending time in both Bosnia-Herzegovina and Iraq. Since then, he has published two collections of poetry — Here, Bullet and the T.S. Elliot Prize-shortlisted Phantom Noise — both of which draw heavily on his experiences in those wars. His new book is a memoir about his year in Iraq, and about the aftermath of that experience. Turner also makes a leap of conceptual identification, attempting to imagine the conflict through the experience of the Iraqi other. Tim O’Brien, author of The Things They Carried, has praised it as “brilliant and beautiful”, and as ranking “with the best war memoirs I’ve ever encountered”. (Mark)
Wallflowers: Stories by Eliza Robertson: Robertson’s stories — often told from the perspectives of outsiders, often concerned with the mysteries of love and family, set in places ranging from the Canadian suburbs to Marseilles — have earned her a considerable following in her native Canada. Her debut collection includes “We Walked on Water,” winner of the Commonwealth Short Story Prize, and “L’Etranger,” shortlisted for the CBC Short Story Prize. (Emily)
On Bittersweet Place by Ronna Wineberg: On Bittersweet Place is the second publication from Relegation Books, a small press founded by author Dallas Hudgens. The novel — Wineberg’s first, following her acclaimed story collection Second Language — concerns Lena Czernitski, a young Russian Jewish immigrant trying to find her place in the glamour and darkness of 1920s Chicago. (Emily)
The Betrayers by David Bezmozgis: Following on the heels of the acclaimed The Free World, Bezmozgis’s second novel is about 24 hours in the life of Baruch Kotler, a disgraced Israeli politician who meets the Soviet-era spy who denounced him decades earlier. (Kevin)
How to Build a Girl by Caitlin Moran: The feminist journalist and author of How to Be a Woman, once called “the UK’s answer to Tina Fey, Chelsea Handler, and Lena Dunham all rolled into one” by Marie Claire, is publishing her first novel. It follows Johanna Morrigan, who at 14 decides to start life over as Dolly Wilde. Two years later she’s a goth chick and “Lady Sex Adventurer” with a gig writing reviews for a music paper, when she starts to wonder about what she lost when she reinvented herself. (Janet)
On Immunity: An Innoculation by Eula Biss: When Biss became a mother, she began looking into the topic of vaccination. What she had assumed would be a few hours of personal research turned into a fascination, and the result is a sweeping work that considers the concept of immunity, the history of vaccination — a practice that sometimes seems to function as a lightning rod for our most paranoid fears about the chemical-laden modern world in which we find ourselves, but that has its roots in centuries-old folk medicine — and the ways in which we’re interconnected, with meditations on writers ranging from Voltaire to Bram Stoker. (Emily)
Yes, Please by Amy Poehler: The Leslie Knopes among us cannot wait for Poehler’s first book of personal stories and advice, in the vein of Tina Fey’s Bossypants and Mindy Kaling’s Is Everyone Hanging Out Without Me? In Poehler’s delightful New Yorker essay about her job at an ice cream parlor, she wrote, “It’s important to know when it’s time to turn in your kazoo.” Wise words from one of America’s most beloved comics and actresses. (Anne)
The Peripheral by William Gibson: William Gibson fans rejoice, for his first novel in four years is upon us. The novel follows an army veteran with futuristic nerve damage wrought during his time in a futuristic kill squad. (Technically, according to Gibson, it’s a novel taking place in multiple futures, so it’s probably more complicated than that). You can watch him read the first two pages here. If William Gibson were a tense, he’d be future-noir. (Lydia)
Lila by Marilynne Robinson: Marilynne Robinson published her brilliant debut novel Housekeeping in 1980 and then basically went dark for a decade and a half, but has been relatively prolific in the last ten years. After re-emerging with 2004’s gorgeous and heartbreaking Gilead, she followed up four years later with Home, a retelling of the prodigal son parable that revisited a story and characters from Gilead. James Wood’s description of the relationship between the two books is exact and lovely: “Home is not a sequel [to Gilead],” he wrote, “but more like that novel’s brother.” With her new novel, Robinson has given those books a sister. The novel tells the story of Lila – the young bride of Gilead’s narrator, Rev. John Ames – who was abandoned as a toddler and raised by a drifter. (Mark) (Ed. Note: You can read an excerpt over here.)
Dan by Joanna Ruocco: Joanna Ruocco’s kaleidoscopic fictions have been likened to Donald Barthelme’s for their dark humor and uncanny occurrences that revel in wordplay. Her stories “map the unmappable wrinkles of the mind,” says Laird Hunt, and by bridging disparate ideas creates a synesthesia. In Dan, Ruocco’s latest novel, the character Melba Zuzzo finds herself in a rut while living in a male-dominated town in the foothills of a mountain. What ensues is a “slapstick parable” that according to her publisher, Dorothy Project, evokes both the “unabashed campiness of Thomas Pynchon” and the capacious imagination of Raymond Roussel. (Anne)
A Brief History of Seven Killings by Marlon James: Marlon James follows his stunning and brutal The Book of Night Women with A Brief History of Seven Killings, which depicts the 1976 assassination attempt on Bob Marley, “spanning decades and continents and peopled with a wide range of characters — assassins, journalists, drug dealers, and even ghosts.” Irvine Welsh calls it “an amazing novel of power, corruption and lies. I can’t think of a better one I’ve read this century.” (Edan)
Citizen by Claudia Rankine: “Often a division is made between politics and poetry, and I like to think this is a moment when the intersection is recognized,” remarked poet Claudia Rankine, about recently winning the Jackson Poetry Prize. In her lyric hybrid work, Don’t Let Me Be Lonely, Rankine investigated media’s role in our private lives, taking on television, pharmaceutical marketing, depression, race, and identity in the post–9/11 era. Citizen, her follow-up book, deals pointedly with race and racial aggression in the media and the everyday — from the classroom to the playing field and the public stage — as it traces the effects of racism in our so-called “post-race” age. (Anne)
Some Luck by Jane Smiley: Still best known for her 1991 Pulitzer-winner A Thousand Acres, Smiley returns to Iowa farm country in this ambitious family saga set in the first half of the 20th century. Some Luck is the first installment in a trilogy spanning 100 years in the lives of the Langdon family, starting from its rural Iowa roots in 1920 and following the clan as its five children spread out across America in a time of epochal change. The second volume, Early Warning, is due in spring 2015, with the final volume, which brings the story up to December 31, 2019, set to appear next fall. (Michael)
Reunion by Hannah Pittard: In Pittard’s second novel — her first was 2011’s The Fates Will Find Their Way, lauded here and just about everywhere else — a failed screenwriter on the verge of divorce agrees to join her family for a reunion in Atlanta after her estranged father commits suicide. It’s a nuanced and intriguing study of family and love, money and debt, failure and success, starring one of the most likable flawed narrators to come along in some time. (Emily)
A Different Bed Every Time by Jac Jemc: Six years ago Chicago-based author Jac Jemc started a blog to track the rejection letters she received. But recently the blog’s been rather quiet — due to a slew of acceptances, it seems. Jemc’s first novel, My Only Wife, was published in 2012 and nominated for the PEN/Robert W. Bingham award; it depicts a husband’s obsession with recalling memories of his wife who disappeared five years earlier. When Jemc’s follow-up collection, A Different Bed Every Time, hits shelves, expect to encounter stories showcasing Jemc’s playful and poetic sensibility, in a book that Laura van den Berg deems “mythic and essential.” (Anne)
300,000,000 by Blake Butler: Blake Butler deploys words like chemicals that merge into phrases, coalescing in alternate existences, with familiar worlds distorted. In Butler’s third novel, There is No Year, a family survives a disease but is still subject to a scourge of infestations and other horrors and mysteries, including a house with secret passageways and the existence of a duplicate “copy family.” Butler began his latest novel, 300,000,000, as a retaliation against the hype surrounding Roberto Bolaño’s 2666. The result? A portrait of American violence, told through the minds of a Manson-like cult figure and the policeman responsible for figuring him out, while tracking a trail of violence and descent into psychosis. (Anne)
Sister Golden Hair by Darcey Steinke: In Steinke’s new novel, a coming-of-age story set in early-70’s Virginia, twelve-year-old Jesse’s family is on the brink of collapse: her father has recently been defrocked, and her mother is coming undone. When her father was a pastor, Jesse felt that they were a part of something — “We were at the center of what I thought of as THE HOLY, and our every move had weight and meaning” — but they’ve drifted into a life of vertiginous weightlessness. (Emily)
Quick Kills by Lynn Lurie: Lurie’s first novel, Corner of the Dead, featured a photojournalist traumatized by the atrocities committed by the Shining Path guerrillas in Peru during the 1980s. In Quick Kills, the narrator is a young girl who finds herself on the other side of the camera, the exploited subject of a predatory photographer: “There is fear in my eyes. I see the fear clearly even in the blurred snapshot.” This slim work looks to be an unsettling rumination on art, pornography and sexual violence. (Matt)
Limonov by Emmanuel Carrère: This biography of Éduard Limonov, published in France in 2011, won the prestigious Prix Théophraste-Renaudot, which is typically awarded to a novel. Limonov’s life makes for good novelistic material: he is founder of the National Bolshevik Party, which “believes in the creation of a grand empire that will include the whole of Europe and Russia, as well as Northern/Central Asia, to be governed under Russian dominance” (Wikipedia), and FSG’s English translation (by John Lambert) will be released under the in-case-you-didn’t-know title Limonov: The Outrageous Adventures of the Radical Soviet Poet Who Became a Bum in New York, a Sensation in France, and a Political Antihero in Russia. Typical of Carrère, he approaches his subject essayistically, wrestling with his own attractions/repulsions vis-à-vis the epic Limonov. (Sonya)
The Heart Is Strange by John Berryman: To mark the centenary of John Berryman’s birth, FSG is reissuing much of his poetry, including his book The Dream Songs. They’re also publishing a new collection, featuring three uncollected pieces along with older examples of his work, that spans the length of his career. From his juvenalia, to the landmark “Homage to Mistress Bradstreet,” to his later poems, The Heart is Strange puts Berryman’s talents on display, which means a new generation will start using the phrase “heavy bored.” (For a primer on Dream Songs, check out Stephen Akey’s Millions essay.) (Thom)
The Book of Strange New Things by Michel Faber: Faber’s latest novel – which David Mitchell called his “second masterpiece” after The Crimson Petal and the White – touches on interstellar space travel, cataclysmic events, romantic love, and religious faith. Such broad territory seems befitting for an author claimed simultaneously by the nations of Scotland, Australia, and the Netherlands. (Nick M.)
Hiding in Plain Sight by Nuruddin Farah: Farah is back with another trilogy after his acclaimed Blood in the Sun series. Once again, he explores identity, obligation, family ties, and how politics can interrupt it all. After Bella’s brother is killed by Somali extremists, she has to give up her life as a famous fashion photographer and raise his children as if they were her own. Yet when the children’s mother returns, Bella must decide what matters more — her family or herself. (Tess)
The Laughing Monsters by Denis Johnson: In an interview last fall, Johnson described his new novel as “kind of a spy story with what we might call serious intentions, on the order of Graham Greene.” Johnson, whose 2007 novel Tree of Smoke won the National Book Award, has written a post-9/11 spy thriller concerning a trio of travelers in west Africa; one is a self-styled soldier of fortune, another is being trailed by two spy agencies and Interpol, and all three are hiding secrets from one another. (Emily)
Let Me Be Frank With You by Richard Ford: I was gleeful to learn that Frank Bascombe will return to us after eight years and the threat of oblivion. At a reading in April, Ford reintroduced Bascombe as a 67-year-old Jersey-dweller ruminating on his former home, tipped on its side by Hurricane Sandy. Let Me Be Frank With You will comprise four novellas, each narrated with, undoubtedly, that unmistakable Bascombe verve. (Lydia)
Mermaids in Paradise by Lydia Millet: After the high hilarity of her satirical early work, Lydia Millet reached new emotional depths in her last three novels. This new novel, concerning the discovery of mermaids and the ensuing scramble to cash in, looks to achieve a new kind of synthesis. (Garth)
Ugly Girls by Lindsay Hunter: Lindsay Hunter’s first story collection Daddy’s is described by its publisher Featherproof Books as a “collection of toxic southern gothics, packaged as a bait box of temptation.” Her second collection Don’t Kiss Me, published by FSG (who says big houses don’t publish story collections?) is, according to the Tin House blog, “a heterogeneous story collection that holds together… peculiar voices that tend to overlap in areas of loss, self-pity, and hilarity.” Hunter is a practitioner of the short-short form and founding host of a flash fiction reading series; no surprise that her debut novel Ugly Girls would be “voice-driven with [a] breakneck pace.” Roxane Gay (on Twitter) called it “gorgeously hopeless.” (Sonya)
Twilight of the Eastern Gods by Ismail Kadare: Originally published in 1978 and appearing in English for the first time this year, Twilight of the Eastern Gods is the fictional account of the prolific Albanian novelist’s time at the Gorky Institute of World Literature in Moscow, to which Kadare was recruited in 1958. A kind of factory meant to produce top Socialist writers, the Gorky Institute’s prescribed style and disagreeable faculty instead caused Kadare to rethink his calling. Like his other novels, Twilight promises to be a wormhole into strange times. (Lydia)
A Map of Betrayal by Ha Jin: Beneath the quiet poetry of Ha Jin’s sentences is a searing novelistic ambition; in A Map of Betrayal, the story of a double-agent in the CIA, he explores a half-century of entanglements between China and the U.S., and the divided loyalties that result. (Garth)
All My Puny Sorrows by Miriam Toews: The premise of Toews’s sixth novel, released to critical acclaim in Canada earlier this year, is simple and devastating: there are two adult sisters, and one of them wants to die. She’s a wildly successful and in-demand concert pianist, but she longs for self-annihilation. It’s a premise that could easily be grindingly unbearable, but Toews is a writer of considerable subtlety and grace, with a gift for bringing flashes of lightness, even humor, to the darkest of tales. (Emily)
Family Furnishings: Selected Stories, 1995-2014 by Alice Munro: If our guide to Alice Munro wasn’t enough, Family Furnishings will feature 25 of her best stories from the past 19 years. It’s the first anthology of her work since Selected Stories (1968-1994) and should fill the Munro oeuvre for both lifelong fans and those who found her after her Nobel Prize win last year. Despite her larger-than-life reputation now, these stories remind us what makes Munro one of the best short story writers in the first place — her ability to illuminate quotidian problems and intimacies in small-town Canada. (Tess)
Loitering: New and Collected Essays by Charles d’Ambrosio: In 2005 Charles D’Ambrosio published an essay collection, Orphans, with a small press, and the book won a devoted following. The entire print run consisted of 3,500 copies, but all of them, D’Ambrosio writes in his introduction to Loitering, managed to find their way into the hands of readers, “a solace to me like the thought of home.” In Loitering, which consists of the eleven original essays from Orphans and a number of new pieces, D’Ambrosio considers subjects ranging from the work of J.D. Salinger to the idea of home. (Emily)
Why Religion is Immoral: And Other Interventions by Christopher Hitchens: Since his death from cancer in 2011, Christopher Hitchens has refused to leave the party. His voice — erudite, witty, proudly biased — can be heard again in this new collection of his unpublished speeches, a follow-up to his late-life bestseller, God Is Not Great. The word “interventions” in the new book’s title is critical because Hitchens’s great theme — his opposition to all forms of tyranny, including religious, political and social — led him to support the misinformed and disastrous military invention against the Iraqi tyrant, Saddam Hussein. Hitchens wasn’t always right, but as this new collection ably demonstrates, he was never dull. (Bill)
The End of Days by Jenny Erpenbeck: One of the most significant German-language novelists of her generation, Erpenbeck follows up the celebrated novel Visitation with a heady conceit located somewhere between Cloud Atlas and Groundhog Day. The End of Days follows a single character, born early in the 20th Century, to five different deaths: the first as an infant, the second as a teenager, and so on. In each case, her life illuminates the broader history of Europe, which remains ever in the background, dying its own deaths. (Garth)
Above the Waterfall by Ron Rash: In Rash’s poem, “Preserves,” a family discovers a beautiful springhouse after a funeral, where “woodslats bowed with berry and vegetable.” Rash’s work is suffused with this sense: a pastoral world is dying, and his sentences are its best chance at resurrection. Longtime fans of Rash’s elegiac prose are happy this craftsman is finally getting his deserved recognition. His novel, Serena, will reach theaters later this year, and star Jennifer Lawrence and Bradley Cooper. In Above the Waterfall, set in North Carolina, a terrible crime brings together a sheriff and a park ranger. The territory might be familiar, but this poet-novelist always delivers. (Nick R.)
The Unspeakable: And Other Subjects of Discussion by Mehgan Daum: Thirteen years after it was published, My Misspent Youth holds up as a perennially interesting book of essays, not to mention the final word on being young and broke in New York. In her new collection, Meghan Daum looks at a host of modern anxieties, including the modern wedding industry, Joni Mitchell and the habits of digital natives. Though a lot of her material is funny in the vein of Nora Ephron, there’s gravity here, too — as there is in “Matricide”, which tackles the death of her mother. Our own Matt Seidel recently featured Daum’s editor in a piece on editors’ first buys. (Thom)
The Big Green Tent by Ludmila Ulitskaya: Ludmila Ulitskaya only began writing novels after her scientific credentials were revoked for translating a banned novel. The Russian author’s commitments to art, activism, and speaking her mind have led her to become one of Russia’s most popular living authors. These same concerns guide her fiction, too — called smart, prickly, and with harsh wit — and in this, her latest novel, The Big Green Tent, is no exception. When a poet, a pianist, and a photographer try to transcend oppression in post-Stalinist Russia, their ultimate destinies are far darker than their author’s. (Anne)
Skylight by José Saramago: This is Saramago’s so-called “lost work,” which was written in the 1950s, but rediscovered after the Nobel laureate’s death in 2010. The novel features the interconnected stories of the residents of an apartment building in Lisbon in the 1940s. (Kevin)
The First Bad Man by Miranda July: If you’re like me, and think about the various Miranda July short stories like favorite tracks on a beloved album, you might be surprised that The First Bad Man is her debut novel. Her short story collection, No One Belongs Here More Than You, was published six years ago and won the Frank O’Connor International Short Story Award; since then, she has, amongst other varied projects, released an acclaimed feature film and a book project inspired by the people behind various PennySaver ads. The novel, which centers around a woman “with a perpetual lump in her throat,” chronicles what happens when, after taking her boss’s selfish, cruel daughter, her “eccentrically ordered world explodes.” (Elizabeth)
Binary Star by Sarah Gerard: Sara Gerard’s star is rising. The NYC-based bookseller slash art-mag-employee slash writer drew attention last fall with “Things I Told My Mother,” an essayistic inquiry into women’s representation in society, spawned by a topless walk the author took through Times Square. This kind of intensity and boldness guide all of Gerard’s work — whether concerning other writers, or her own bout with anorexia, addiction, and a stint jumping freight trains, and now in her first novel Binary Star. Binary Star interweaves astronomical research with a story about an unnamed anorexic who burns through her intensely dysfunctional life like a star burns fuel, never to be replenished. (Anne)
Outline by Rachel Cusk: Some travelers collect stories as much as souvenirs. In Cusk’s latest novel, a woman writer travels to Greece to teach a creative writing workshop but learns just as much from the tales her fellow travelers tell her. As she listens, she weaves their stories into a narrative of loss, creativity, family life, and intimacy. To keep with the storytelling tradition, the Paris Review serialized the novel, but FSG will publish it for a full narrative experience. (Tess)
Glow by Ned Beauman: Beauman’s previous novels, The Boxer Beetle and The Teleportation Accident — the one a fanciful look at eugenics and fascism, the other a genre-bending wonder about an avant-garde set designer in 1930s Berlin — each displayed a learned, diabolical imagination at work. His latest appears just as unhinged. Enrolled in a “continuous amateur neurochemistry seminar” and suffering from a sleep disorder, its hero experiments with the designer drug, “glow,” which opens up a gateway into a Pynchonian universe: a disappeared friend, pirate radio stations, and a nefarious Burmese mining company. (Matt)
There’s Something I Want You to Do by Charles Baxter: In his first story collection in 15 years, Charles Baxter, a son of the Midwest and venerated writer of fiction, poetry and essays, gives us inter-related tales that are tidily bifurcated into two sections, one devoted to virtues (“Chastity,” “Charity,” “Forbearance”), the other to vices (“Lust,” “Sloth,” “Avarice”). Characters re-appear, performing acts both virtuous and loathsome, in stories that are set mostly around Minneapolis but also roam to New York, Tuscany and Ethiopia. The collection’s title is a typical “request moment” that animates the stories, resulting in a murder, a rescue, a love affair, an assault, even a surprising gesture of kindness. (Bill)
Bon Appétempt: A Coming of Age Story (With Recipes!) by Amelia Morris: I was such a big fan of Amelia Morris’s hilarious, entertaining, and useful food blog, Bon Appétempt, that I tracked her down and asked her to teach for my writing school, Writing Workshops Los Angeles. Now Amelia has penned a compelling and funny memoir about becoming an adult and an artist — both in and out of the kitchen — that is sure to bring her even more devoted readers. If you like Laurie Colwin and MFK Fischer and, I don’t know, total goofballs baking cakes while making weird faces, you’ll love Amelia Morris and Bon Appétempt. (Edan)
Get in Trouble by Kelly Link: “What I want is to create stories that shift around when you reread them.” Few can shake readers awake as well as Link, which makes short fiction her ideal form. She has been called the “George Saunders of the fairy tale,” but simply being Kelly Link is enough. Get in Trouble, her fourth collection, gets its title from the sense that in fiction, “there’s a kind of cathartic, discomforting joy — a pain/pleasure — in people behaving badly.” Her previous fantastical tales have been populated by librarians, cellists, aliens, and fainting goats. Link aims to surprise, which makes her work absolutely pleasing. (Nick R.)
Find Me by Laura van den Berg: Laura van den Berg’s fictions often unfurl just beyond the real, with their madcap mix of zany and dreamlike set-ups. Case in point, van den Berg’s recent story collection, The Isle of Youth, was peopled by yacht thieves, a mother-daughter magician team, and newlyweds who survive a plane crash. Her first novel, Find Me, continues this surreal, at times catastrophic streak, as it follows Joy, a grocery clerk, cough-syrup addict who’s immune to an ongoing plague of memory illness. Joy’s resulting hospital stay and cross-country journey plotline sounds like a surreal mash-up of Stephen King’s The Stand and Grace Krilanovich’s The Orange Eats Creeps. (Anne)
The Discreet Hero by Mario Vargas Llosa: The 2010 Nobel Prize winner trains his eye on corruption and urbanization in modern day Lima in his latest novel. According to CityLab, “The story follows two parallel tales: an elite Lima businessman who decides to punish his undeserving heirs, and a self-made man in Vargas Llosa’s adopted hometown, Piura, who resists an extortionist demand.” (Kevin)
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We here at the Iowa Writers’ Workshop have been surprised to find ourselves – for lack of a better word – trending. From Eric Bennett’s allegations in “How Iowa Flattened Literature” to n+1’s book MFA vs NYC, we really didn’t think there was more to say about our institution…and then Hannah Horvath, in an odd twist of fictional life becoming reality, was accepted on Girls.
Of course we were excited by the buzz. But in this larger discussion, we found that something was lacking: namely, the view from Iowa City. Right here, right now.
So: here it is.
On a dismal midwinter Thursday, we – eighteen current students of the Writers’ Workshop, poets and fiction writers alike – set out to chronicle one ordinary 24-hour period in our lives. That February 13th, we took copious notes. We worked, whether on our novels or on our Twitter accounts. Some of us taught classes. Some of us went to a poetry reading and after-party. And some of us just ran around tossing Valentines into each other’s houses.
My colleagues’ responses may vary widely in form, ranging from poems to stories to lyric essays, but all of them are, like my colleagues, entertaining. And furthermore: excerpts from their responses, when laid out to roughly span those 24 hours, give a decent picture of what it’s actually like to be a student at the Iowa Writers’ Workshop right now – that is, to be one of many people all striving to do the same difficult thing, in the same moderately-sized city, at the same talked-about school.
Hannah Horvath: take note.
(Van Choojitarom, second-year fiction)
Van is having trouble leaving his apartment. The problem today is getting dressed. It’s not that Van is particularly vain or fastidious. It’s that as he’s putting on his suit and necktie he invariably begins delivering a bad guy monologue to the bathroom mirror. Welcome to my island, Mr. Bond, the solid grey suit seems to say. Sometimes he can cut it down, but other times, some inner Hans Gruberian impulse cannot be checked and he ends up trying on all his different coats in front of the mirror, regardless of the actual weather, lapels folded over his throat, inveigling the ceiling, delivering solid broadly humanitarian, ultimately Marxist reasons for Bruce Willis to surrender.
This morning he’s fixated on a grey plaid double breasted jacket that puts in him in mind of Mads Mikkelsen’s Hannibal Lecter. It seems to be driving him to wider, patterned ties: “I don’t really think your story has POV problems, Will. I just wanted to see how you’d react…”
(Jessie Hennen, second-year fiction)
Every morning I wake up and Colin is still asleep. Usually I lie there for twenty minutes and try to ease myself out of the bed without him noticing, but inevitably he does. “Stay,” he says, not quite awake. Then I have to sound like an absolute bitch and say that I am done sleeping, that I have things to accomplish. Really it is that I am sick of looking at the light fixture, at the sky coming in bright against my peach-colored curtain, the ceiling shimmering like the northern lights. While I look at the ceiling I think too much about the future.
“I can’t sleep in any more. I have to finish (x),” I always say. Today (x) is a novel chapter about giant deep-sea fish who grow weary of being imprisoned in a tank and incite their angry brethren to make the oceans swim with rage.
“Oh, okay,” he says, but he doesn’t let go. Frida the cat sits in the middle of the bed, meowing. I suppose she is cozy. I tell him I had a very episodic dream. “I was surviving the Rapture with my family. Our house was under siege, people kept throwing rocks at our windows, everyone wanted in. Finally the call came from heaven, and our whole house floated up into the sky above the angry mobs. I almost got Left Behind because I was drinking a beer, but I tossed it out and we made it to heaven.
“Heaven, it turned out, looked a lot like Milwaukee. Very small houses, a very bright sky. The powers that be were keeping us in a strip mall until they could find proper heavenly places for us. It was packed – kind of a shantytown, really. It had a barter economy going. Some guy had a computer with Facebook, and I convinced him to check mine. Jen Percy had been posting these really great photos of Hell. As it turns out, Hell is a dusty Victorian with vintage drapes and canopy beds. I wasn’t sure whether she was there on assignment, or permanently.”
“Well, you have to include that,” he says, and we get up.
(David Kruger, second-year poet)
I walk through a parking lot, down a flight of outside stairs and into an old brick building where I teach what is essentially Basket Weaving 101, but instead of palm fronds and twigs, I talk as vaguely as possible about metaphors.
Today I say things like: student A, you need more flesh and muscle for that prostitute in your car, and Student B, the statue of David you encounter during your trip to Florence might be thought of as symbolic of the patriarchy and therefore of the trials you and your gal-pals endure. Student C’s story is about the big game, and so I simply point to Plot Mountain on the board and suggest that stakes, when raised, are like little plateaus for the reader to climb and consider.
Toward the end of all of this, I really have to pee.
(Mallory Hellman, second-year fiction)
4:07 pm – I’m late to pick everyone up, and I’m the one leading our lesson today. When I pull up to Dey House, all four of my fellow Youth Writing Project volunteers are assembled on a snowbank waiting for me. One holds a bag full of construction paper. Another shivers under a hat with long ear flaps. Troopers. They get in, and I gently disrespect the speed limit until we’ve reached Cedar Rapids.
4:45 pm – Our gang of ten is happy to see us, even though we didn’t come bearing snacks. We cluster three tables together in the classroom and hang up our laminated Writing Club sign.
5:15 pm – Teonie, who is eight, has written an ode to tacos and nachos. Most of it is a meditation on her two favorite foods’ similarities, concluding with a tenderly inflected, “Are you sisters?” This leads, naturally, to a heated debate about which foods are sisters, which are brothers, which might be cousins, and which aren’t related at all.
5:45 pm – Lasagna and calzones are parents to spaghetti. Pizza is a cousin, on the calzone side of course. Macaroni wants to be in the family but isn’t – it rolls with the hot dish instead. Peaches and plums go hand in hand, but mangoes and green peppers have never met. Avocados and pears hate it when they’re mistaken for sisters.
(Matthew Weiss, first-year fiction)
Taught Interpretation of Literature. Big old room. Clonking around in my shoes.
Talked about the etymology of the word symbol.
It originally meant two shards of a ceramic pot broken at the moment two parties made a deal. Later, you’d know things were legit if the two pot shards fit back together.
Hence Plato’s: man is a symbol of himself, looking for his other half.
Also, a symbol could mean: a chance meeting, a receipt, a watchword, or a Pythagorean cult password.
For example, the Pythagoreans would recognize a brother by muttering things like, “What is the sea?” and getting back, “The tear of Kronos!”
Lost track of time. Possibly I showed the kids a clip from the end of 2001: A Space Odyssey, which I claimed was “symbolic.”
They’d never heard of 2001: A Space Odyssey before.
(Patrick Connelly, first-year fiction)
There is a girl in the hall where I teach rhetoric. She looks like she is about eighteen, nineteen years old. I always see her. She is hunched in an electric wheelchair with her wrists and her neck bent and her chin down. She isn’t quadriplegic; I have seen her hands and fingers move. I think she has a neuromuscular disease. Her body is small. She is sitting against the wall, alongside the other kids, waiting for the classrooms to empty. To be honest, I try not to think about her beyond the end of the hall (outside, at Prairie Lights Café, at the gym, at home, and then at a party after a poetry reading), but I can’t help it. Today is different. When I pass her, she is playing Bejeweled on her iPad Mini, swapping the colors around the screen with her finger; she is bored.
In class, I ask for a show of hands. Who’s read To Kill a Mockingbird? I get up and talk about empathy. You can never really understand a person until you climb into her skin and walk around in it. You can’t understand a controversy or advocate for a proper solution until you’re able to consider things from other people’s point of view.
Is simply being aware of something or someone any good? Because I probably won’t ever talk to this girl in the hall. I will only write about her.
I should ask my students what they think.
(Misty Woodford, third-year poet)
On the way home from teaching, I’m thinking about trochees, and this happens: “GUTzon/BORglum/GUTzon/BORglum/GUTzon/BORglum” – by now I’m stomping out the rhythm as I walk – and I don’t realize I’m also saying this out loud until I near my apartment building, and see a figure freeze up on the lawn. It’s the guy who lives in the basement and I’ve scared him this time. I start to walk normally, more pyrrhic, I guess, and say, “Hello!”
He says “Hi” and attends to his cigarette. Dinner is multiple cups of tea and the hope that chamomile and valerian work tonight.
(Thomas Corcoran, second-year fiction)
After rereading the last day’s work, I begin the current day’s session, writing on a 1971 Olympia SM-9 typewriter with a 12-point font similar to Garamond. Typewriters are useful when the desire is more to make daily advances on a draft than to polish the prose. Before being written, sentences are usually imagined but not too precisely; and except for the occasional “xxxx” (over which I always feel a pang), corrections are simply too hard to make in great number. As with writing generally the challenge is to convert insights that might have limitless depth but no duration into sentences that are stretched out in length but constrained by their gathered energy, like ocean waves striking the shore. After a lot of practice the prose is reasonably good in this format anyway. The rhythm of the typing helps. What may still be needed are selection, precision, and courage.
(Dini Parayitam, second-year fiction)
…This place is about vulnerability. Every second of it is a lie you tell yourself. “I belong here. I am happy here. I am happiest here among people like me.” Really you are very hyper-conscious of the fact that you aren’t actually happy here. Being with so many people who do these things that you love better than you makes you question why you are worthy of doing it at all in the first place.
This is what Iowa Writers’ Workshop teaches you:
1. The wish to write a good story is fake.
2. The will to write a good story cannot be trusted.
3. The insecurity you feel when you are done is normal.
4. The insanity of the writer is a very real thing.
(Andy Axel, first-year poet)
“Observatory Log: 13 February 2014 Iowa City”
1 discreet tree relief
10 a whole class chanting what sounds like “TOGA” with increasing speed
11 dough-faced boy in american flag vest with cup not actually from starbucks
12 prime view of the capitol from the waiting room
1 the word “widowed” on a dropdown menu
2 when I see more than three robins in the same place I start to get suspicious
3 I check to see whether I’m wearing a sweater
5 child ode to cat:
“Feliz: you are not like a garbage can.
You are like a light when you surprise me.
Do you speak Spanish?”
6 when I enter the Dey House it smells like ink and xmas
7 my view field’s all baldspot
11 dogs express interest in the terrible smell of my boots
12 enough of weather
(Jake Andrews, first-year fiction)
After lunch, I sat down to write. The main character’s girlfriend had just walked into his room and told him some good news. He recollects: “Had I ever thought about sex as a way to celebrate academic achievement?” (I, the author, certainly have; Daniel was a bit more surprised.) The story had taken a turn I wasn’t expecting, and I was stuck. So I started cleaning up my desktop (the one on my computer, not the one on which the computer usually sits, though it wasn’t there on this day in any case; I was sitting in a chair in the living room because – to re-emphasize the solitude that prompts reflection – my wife was out).
I stumbled on a collection of photos that my step-mom had put together for my dad’s funeral back in December. I had downloaded them and forgotten about the folder.
Two photos in particular jumped out at me. In the first one, my dad has me on his shoulders. I can’t be two months old. (My mother remembers taking this picture and being horrified.) My head peeks out above his hair, and his hands hold me in place. My pudgy feet are almost to his chin. In spite of the 1970s glasses, he looks remarkably like my middle brother, mainly because he is skinnier than he was in later life. He’s smiling like a kid – he would’ve been 20 – and looking at the camera. I’m gazing off to the left, my hands gripping his hair, my face – wide cheeks and a small chin – looking remarkably like my own son’s the day we removed him from life support.
In the second photo, my dad isn’t looking at the camera, but he’s still smiling. He’s on all fours, and I’m crawling between his arms, probably just over six months old. My left hand is raised, reaching for a balloon. If you look close enough, you can see that he’s holding it for me. My straight blond hair has lost the red hue from the earlier photo; like my nephew, I’ve got pudgy cheeks and pudgy fingers. I’m in motion. There’s a blur to my hand.
I don’t really know how long I looked at the photos in the folder. I didn’t write for a while after finding them. I made myself a cup of tea.
On readings and parties:
(Sean Zhuraw, second-year poet)
A friend, SE S, sees the stich of my saccades trailing the runaway cambus down Clinton Street, sees I’ve missed the bus.
She gives me a ride to the doctor.
My eyes are fine.
Try this when looking at something, she says, after looking at it, look away.
Take sanitary breaks, she says.
Take mind off.
There are layers among the distances, magnifications.
Her assistant returns to dilate my pupils.
When the doctor leans into my eye, she says, don’t look at the light; keep focus past it.
I buy a few Valentines.
I live in a small town, so on the way home I stop by JM’s house, open her door, sneak into her kitchen, stuff a rabbit down the back of her shirt.
It says, Ears Hopping you’ll be mine.
I also make one Valentine from two.
They’re angels unless you mess with their halos – the TV’s ad.
Later, I catch myself eating a sandwich in a mirror. It is the only way I can see what my hands are on.
Ditto the poetry reading that night.
Language is an organ, he says, not just sensate but reciprocal too.
Q: Do the eyes rhyme with their host?
A: I don’t know. I keep checking to see if it’s changed.
(Laura Ferris, first-year poet)
Now that my schedule for the day has played out, I feel less certain of how I spent my time. Tomorrow I know I am going to the library to do more research for my historical-ish surrealist-adjacent poem, spending hours at a microfilm scanner. I consider going out because I’m supposed to be writing about my day, but ultimately decide I don’t care enough about making the day seem like anything.
I watch more episodes of Sailor Moon with Sailor Uranus and Sailor Neptune, think about to what extent I care about Valentine’s Day. I want to say that I usually do more, write more, than this. Today, though, I’m spent, uninspired, and a little lonely – and unable to go out.
(Will Jameson, first-year poet)
Anthony and Elyse and Jordan and I are drinking gin and tonics. Elyse doesn’t have a lime but she has a lemon. We finished the pepperoni and mushroom pizza from Falbo’s we’d ordered which was a circle cut into squares. Jordan is playing Drake on his computer and Anthony is drawing a grid in his notebook that plots where our poetics stand in relation to each other. It looks like a sketch of Orion without the helpful lines drawn in between to illuminate the figure. Elyse reads aloud some Norman Dubie. Anthony reads aloud some James Tate. Then we keep talking about ourselves.
(D.R. Simonds, second-year poet)
“The Willow Tree on the West Bank, Iowa River”
For Emma Woodhouse
Near the “Train Only” bridge we footbridge, you burn
willow branches two at a time, saying
you know I know
how to respond
in a heartbreaking situation, (having broken
hearts before), spine-burn
running thru your hands, but the other
white-hot willows nearby
I am never showing you, my first impulse for our survival
I can’t never show you.
(Jerika Marchan, second-year poet)
I want to be original and smart. I want to not feel guilty about eating half a chocolate bar for breakfast. I don’t eat microwave dinners. I want to delude myself into health. I listen to this interview on Iowa Public Radio because I feel like I can participate and because the conversation is smart. People feel strongly about things and I can, too. I Can Too.
I go downstairs and make a bean burrito. The door to the house is usually left unlocked, and as I’m guiltily overstuffing my burrito, someone busts in to tuck in the tag hanging out of my dress and leave me a Valentine. I scream for a long time.
Jessie gets home and asks if I wanna go to Meredith’s for pad thai and sake. Yes get me out of this house, I’m full of burrito. (I will eat only bunny-amounts of pad thai is what I tell myself.) Pad thai happens in a sake-induced fog. (Meredith googles “what’s in sake bombs?”) Meredith and I successfully open a very-difficult-to-open jar of organic coconut oil. I bust my ass trying to sit on what I thought was a chair but really was a cookie sheet resting on a chair, and I fall to the ground. It’s kinda nice. (Is that weird?) I haven’t fallen on my ass in a while. It’s nice to know what it feels like from time to time.
Jessie and I tell Mere about my ongoing boob-angst, and she looks at me for a quick second before deciding that I’m at least a D-cup.
(Rachel Milligan, second-year poet)
I wake up at noon, spend the day reading Maggie Nelson’s Bluets on the couch, lighting three candles, blowing them out, and then lighting them again. I have a glass of wine before the Richard Kenney and Carol Light reading. My night concludes with one of my best friends scream-singing at me, perched on top of the refrigerator.
(Cassidy McFadzean, first-year poet)
After dinner, we walk to Dey House for Richard Kenney’s reading. Nathan slips on the ice outside our apartment, but he doesn’t see the blood on his hand until he leaves a mark on the door of the workshop. He wipes it off. We sit with Will, with Connor in front of us. The three of us were in Rick’s workshop last semester, and I see the other seven students scattered around the room. Rick refuses the microphone and reads a mix of riddles, charms, and pun-filled haikus, occasionally stepping out from behind the podium to address us, bringing his words closer to our ears.
The after party’s at Will’s and I make him show me the group pictures he took of our class last semester. I feel nostalgic. I eat pita chips and hummus and talk with Connor and Nikki about the classes we’re teaching. I talk with Winter about the buttons on the sleeves of her dress. I talk with Clare about how amazing Hy-Vee is, though she does not share my sentiments. I talk with Chad about Canadian poets, and Petro about Trailer Park Boys.
Every party proceeds the same: the bass gets turned up, the lights get dimmed down. Someone plays Robyn’s “Dancing On My Own.” We talk about how every party ends this way. It’s around midnight, and some of us leave, and some of us stay.
Image Credit: J.Y. “Warmer is not warm.”
The epigraph of Michelle Huneven’s fourth novel, Off Course, reads like a warning:
If a woman in her late twenties hasn’t found an absorbing occupation, and if, restless or adventurous, she begins to drift, she flirts with peril; for this is a vulnerable age, when demons present, singly and in droves, often taking the forms of men.
When I read this, I immediately though of HBO’s Girls, and how it could easily serve as an epigraph for that show, as well. But as I made way through Off Course, my thinking changed. The most important part of the epigraph, I realized, was the very first phrase: “a woman in her late twenties”. The girls in Girls aren’t old enough to truly “flirt with peril”; they might get into trouble, but it’s unlikely that anything they do will throw their lives off course.
The stakes are higher for a woman like Cressida Hartley, the heroine of Off Course. At 28, she’s a post-doc right on the precipice of adult life — or at least, a life out of school. All she has to do is write her dissertation. Her parents offer her the use of their summer cabin in the Sierras, a place she hated as a child. She accepts, thinking the isolation will be good for productivity. But she finds ways to procrastinate.
During her very first week, she hooks up with the local lothario and ends up dating him for months. It’s part of Cress’s charm, as well as her vulnerability, that she doesn’t care about his reputation. When their fling ends amicably, Cress gets down to work and, more importantly, you, the reader, begin to root for her. By then you understand what she’s up against: it’s not only that she has no interest in her dissertation (although this is a problem); it’s not only that she’s lonely (this is a bigger problem); it’s not only that she’s living in a house that is the embodiment of her childhood (an even bigger problem); it’s that the mountain itself exerts a pull on her. Her family’s cabin is a kind of Narnia for her, a place out of time visited by strange characters and surrounded by incredible natural beauty. On her very first night, Cress opens her window to feel the breeze, “bearing the scent of pine and mineral dust.” Above, “the moon cast a blue glow.” Already, we’re in the land of fairy tales (where demons might lurk) but Huneven caps off the passage with this ominous foreshadowing:
And so it was on familiar roads, in her family’s other home, with the blessings of those closest to her, that she veered off course, into the woods.
It’s hard to discuss how and why Cress veers off course without giving away too many details, but it doesn’t spoil much to reveal that a man is involved. I won’t say more about him except that he’s married, and his marriage throws up all the usual obstacles. It also puts you in the position of reading a romance from the point of view of “the other woman.” Although almost everyone in Cress’s life is judgmental of her choice, it’s hard to feel anything but sympathy for Cress. Still, she is a peculiar heroine. Or maybe she’s just adrift, and hard to pin down: She’s competent yet lost, independent yet passive, intelligent yet guileless. I found myself admiring her on one page and worrying about her on the next. Cress worries, too, at one point observing that she has begun to live “an offhand life,” one that she can’t look at directly, “for fear it would dissolve.”
Part of this novel’s power is that it spans several years, but time passes in a way that mimics life experience. The novel’s early chapters are warm and expansive and descriptive as Cress settles into her new mountain home and becomes a part of the community. Time passes slowly as it does at the beginning of a vacation. But as the novel progresses, and the area and its people become familiar to both Cress and the reader, the pace picks up. At the beginning of the novel, several chapters are spent on one season. By the end of the book, two months passes with a line break.
This is a novel about obsessive love and at some point during my reading of it, I became obsessed with the story in a way that surprised me. You could say my experience mirrored Cress’s own love affair, which starts out simply and easily but then somehow turns into a life-altering event that keeps Cress captive in the mountains for years. Although I wouldn’t characterize Off Course as a life-altering novel, it did cast a very strong spell. The fairy tale theme is pervasive and like all good fairy tales, there is a sense of unease, of darkness unseen. Cress describes her love as “a sad old king,” the arrival of spring is “a clear flammable gas in the air,” and a pocketknife is found buried in the dirt, like a bad omen.
It’s only when Cress descends to a lower elevation to visit friends that she realizes how strange her life has become:
…it was if she’d awakened from a dream or, more accurately, been dumped out of a fairy tale like the peasant girls who’d fallen down wells and found themselves in dark forests where animals talked and princes wandered disguised as beggars and you performed test after test until you woke up in your old bed, a silver flask the only proof of your ordeal.
The question of why Cressida finds herself in limbo haunts Off Course. She has everything going for her: she’s a well-educated young woman, from a well-off family, with a strong network of friends and acquaintances. She makes new friends easily and doesn’t have trouble finding work or places to live. She’s smart, resourceful, confident, and adaptable. So how does she lose her bearings? Huneven offers a number of ideas, including a Freudian one that, like so many Freudian clues, was so obvious in retrospect that I couldn’t believe I’d missed it. But no single explanation is put forth as the primary reason for Cress’s missteps. The mystery of those squandered years — and “squandered” is Cress’s word, not mine — remains unresolved in a way that feels very true to life.
Samantha Chang, the director of Iowa’s Writing Workshop, weighed in on the Girls storyline in which Lena Dunham’s character gets accepted into the school’s MFA program. “It’s very possible that she could have gotten in,” Chang says of Hannah Horvath, Dunham’s character. Meanwhile, University of Iowa officials have apparently denied the HBO show’s request to film on-campus for its next season.
We learned earlier this month that Nina Jacobson, a movie producer responsible for the the Hunger Games franchise, among other things, has acquired the rights to Donna Tartt’s The Goldfinch and is looking for a director to make it into a film or mini-series. Lucky for Jacobson, dream-casting the movie version of a book is one of my life’s true passions, and my colleague Edan Lepucki and I hereby submit our ideas for the Goldfinch cast. The process reveals the bizarre extent to which I think I understand the Hollywood casting processes (and how often my first choice is ten years too late), which starlets we think play trashy the best, and how it might be worth it to turn the cast on its head to let Michael B. Jordan play Theo.
[Warning: Our discussion of what will be required to play these characters results in many spoilers.]
Janet: It strikes me that almost any beautiful actress past her starlet age could swoop in and play an angelic, sophisticated mother who loved art and New York and whom we will probably see in fuzzy, nostalgic flashbacks for the duration of the film. Ten years ago it would have been Julianne Moore’s in a heartbeat, but now I picture Rachel Weisz or Michelle Monaghan (probably because we all just saw her play a lovely woman who married the wrong guy young in True Detective).
Edan: I love the idea of Rachel Weisz playing this role — she does elegant/maternal very well. The same goes for Kate Winslet. (I’m sorry, but a chair can act better than Michelle Monaghan.) I’d also suggest Kerry Washington for the role; her face can go from assured to vulnerable in a millisecond, and she’s got a powerful presence that both Theo and the audience will grieve.
Imagine, too, a non-white Theo Decker…his outsider status might then take on a whole other dimension…
Janet: Theo’s father is complicated. At one point he wooed Rachel Weisz up there, and continues to be a charming, charismatic guy, but ends up running schemes in Vegas. The part of me that likes to think I understand Hollywood surmises that it’s not a big enough role for the likes of Ben Affleck or Bradley Cooper, who would both be great but might be too busy on the A list. I could see Josh Brolin or Mark Ruffalo, though. They’ve both got the range and the tragic good looks.
Edan: If Mark Ruffalo knocked on my door right now, I’d open it naked. Yes! Ruffalo! I also could see Peter Krause of Six Feet Under (and Parenthood) fame — he’s handsome enough, and he emits a slight aura of bratty rage that playing Larry Decker would require.
Janet: Larry’s girlfriend is introduced as “a strange woman, tan and very fit-looking: flat gray eyes, lined coppery skin, and teeth that went in, with a split between them. Although she was older than my mother, or at any rate older-looking, she was dressed like someone younger: red platform sandals; low-slung jeans; wide belt; lots of gold jewelry. Her hair, the color of caramel straw, was very straight and tattered at the ends; she was chewing gum and a strong smell of Juicy Fruit was coming off her.”
So not Amy Adams, is what I’m saying. I could see Anna Paquin (who already has a gap in her teeth) or Chloe Sevigny taking a fun trip to trashville to play Xandra, or, if they stick to the age described, Rachel Griffiths.
Edan: Like Hollywood would ever stick to the age described! I bet the producers cast Elle Fanning, those ageists! Though I love Paquin and Sevigny, Paquin strikes me as too round-faced, and Sevigny is far too rich girl for me to believe her as Xandra. She’d be better off as a Barbour with her George Plimpton-esque mid-Atlantic accent! My pick for this role is Taryn Manning; her meth-head-turned-religious savior in Orange is the New Black is by turns gleeful, hideous, frightening, and humanizing. That girl can trash it up, and she is so fun to watch. [Janet: With Peter Krause as Larry and Rachel Griffiths as Xandra we could have a Six Feet Under reunion on our hands. Think about it.]
Young Theo/Young Boris:
Janet: The first section of the book follows Theo from age 13 to 18, and Boris comes in about halfway through, so it’s hard to know how that will be cast—maybe they’ll shrink the timeline so that one actor can play all those years, because I can’t imagine them getting both a middle school Theo and a high school Theo. Teenage Theo and Boris are also pretty weighty parts, so they can’t just find kids who look like a young version of their leading men to fill in for the first 20 minutes — like Jennifer Garner’s doppelganger in 13 Going on 30. Not that any of this matters, because I’m not familiar with a lot of young teenage actors, so I’ll just name the three I know because of Divergent or The Fault in Our Stars: Ansel Elgort, Miles Teller, and Nat Wolff. (Ten years ago: Nicholas Hoult.)
Edan: I have no opinions about man-boy actors. Just don’t cast the teenage son from USA’s Necessary Roughness; I have nightmares about his Ken-doll face.
Janet: Theo is an intentionally divisive character. I found myself loving and hating him in equal measure, and getting the wrong actor could push the character too far in either direction. And, like his father, Theo is equally conversant in New York society, the antiques world, a life of crime, and a drug habit, so the actor has to have the same versatility. Andrew Garfield and Joseph Gordon Levitt both came to mind as bankable leading men, but they might be too adorable for Theo. (And can you imagine Joseph Gordon Levitt pining for but never winning Pippa? Hahahaha no.) Our colleague Lydia suggested Adrien Grenier, Adam Brody, and Zachary Quinto, each of whom have varying degrees of edge. My prediction is Jake Gyllenhaal, because I think he’s established enough that a studio would trust him to carry the movie (why am I talking like this?). But my dream actor is Emile Hirsch. He’s that perfect tragic-hero mix of magnetic, melancholy, doomed, but likable, and I’ve been waiting for the rest of America to fall in love with him since Into the Wild.
Edan: You think Joseph Gordon Levitt is that irresistible? [Janet: YES.] I mean, he’s adorable, yes, but he’s also small — he looks short on screen, which must mean he’s a teeny-tiny person. There’s also a strain of nerdery in him that could work for this role and make him less Mr. Cool. However, I love your idea to cast Emile Hirsch — what a phenomenal actor.
If Kerry Washington is cast as the mother, however, might I suggest Donald Glover from Community in this role? Or, the incredible Michael B. Jordan from The Wire, Friday Night Lights, and Fruitvale Station? (Hell, cast Jordan anyway! His eyes — they convey innocence, rage, curiosity and longing all at once!)
Janet: Oh Boris, you lying knave. I can’t get past the idea of how great a younger Leonardo DiCaprio would be, so I have no ideas. Lydia astutely suggested Paul Dano. But I know you have a strong opinion…
Edan: Adam Driver is the only man for this role. That pale skin! Those jug ears! He looks like a boy raised on vodka! Driver continually surprises me as Hannah Horvath’s boyfriend on Girls. He imbues every line of dialogue with unexpected nuance, and his physical presence is fascinating, discomfiting, sexy, comic, and tragic. Plus, he’d do something great with Boris’s accent!
Janet: This will probably be some child actress we’ve never seen before, but Kiernan Shipka would be great.
Edan: I vote for an unknown here.
Janet: Saintly, delicate Pippa is the European boarding school-educated flautist whom Theo doesn’t know how to quit. I think Emma Watson would do nicely. And she kind of looks like Kiernan Shipka!
Edan: I’m the only person (on Tumblr) who hated the film adaptation of Perks of Being a Wallflower, and Emma Watson’s bad American accent was part of that hatred. Shipka can have it. Or perhaps Saoirse Ronan (from Atonement and Hanna) is available? She’s like a younger, prettier, and more ethereal version of myself, so of course I’m rooting for her always.
Janet: Widely decried as the most two-dimensional character in the book, lovely old Hobie could basically be played by any amicable actor who has time on their hands. I thought of Michael Gambon, who is most likely too old. Jeff Bridges or William Hurt would also be good, although both too American. Screw it, let’s give it to Cumberbatch.
Edan: I would have loved to have cast Philip Seymour Hoffman in this role. If we want bona fide English, I’d go for Steve Coogan. Everyone loves Coogan, right?
Kitsey “Kitten” Barbour:
Janet: Theo’s high-society, two-timing fiancee. Leighton Meester or no one at all.
Edan: I’ve never seen Gossip Girl, but I’ve read the gossip rags for many years, so I am all about Ms. Meester and her snobby, beautiful face. She looks like she was born wearing a sweater set and pearls.
Various Barbours and background players:
Janet: Mrs. Barbour is a surprisingly complex minor character that you’d just have to be elegant and icy to play. Jennifer Connelly, perhaps (ten years ago: Joan Allen). I have a sinking feeling Paul Giamatti will be Mr. Barbour because he shows up everywhere, and I don’t have any strong opinions about their children other than Kitten. Matt Dillon could show up as the guy who comes to threaten Theo’s dad with a baseball bat.
Edan: Let’s just call Meryl and see if she’ll play Mrs. Barbour, though I also love Connelly’s skinny-woman-ice. I’d love to see Robert Englund play a member of the criminal art underworld. Oh, and of course: a little known actor named Omar Little would be perfect as Popchik. (I’m Omar’s momager; call me if you’re interested!)
Lena Dunham is the new voice of the Archie comics generation. The Girls creator will write four issues of the famous comic, coming out in 2015. She’s not the only woman joining the comics industry. DC Comics is adding a Native American teenage girl, inspired by the real Canadian Aboriginal teen activist Shannen Koostachin, to the Justice League United.
It is hardly news by now that Broadway theater has become a high-priced museum of its former self. This year’s Broadway season, which kicked off earlier this month, will feature a few new plays, including a limited run of Outside Mullingar from Pulitzer-winner John Patrick Shanley in January, but for the most part Broadway theaters will host the usual disheartening mix of jukebox musicals, retooled Disney movies, and revivals of hoary classics populated by downshifting movie stars.
For those who care about theater as an art form, it is this last category, the endless stream of revivals of classic American plays populated by movie stars, that really hurts. Sure, there are theaters off-Broadway and in other cities around the country that still commission and produce new plays, but the Broadway revivals, like the production of Tennessee Williams’s The Glass Menagerie starring Cherry Jones that opened earlier this month, show that there was once a time when serious new plays found favor not just with a small, theater-loving elite, but with a broad cross-section of middle-class America.
My own grandparents, like many educated young people in the 1940s, loved culture and fine things, but they lived in an isolated mill town in Southern Virginia without good bookstores or restaurants, much less a vital theater scene. So, like thousands of their fellow Americans, once or twice a year, they hopped a train to New York to eat a few decent meals, shop at the department stores along Fifth Avenue, and “see the shows,” which for them meant Broadway. This was, for a generation of American provincials like my grandparents, the height of sophistication and an annual ritual that sustained New York theater for decades.
Now that golden age of serious, culturally ambitious drama is gone forever.
Or is it? Certainly, given the sky-high ticket prices and the emphasis on circus-like musicals catering to baby boomer nostalgia, the next generation of great American dramatists like Tennessee Williams or Lorraine Hansberry, whose 1959 classic A Raisin in the Sun is being revived this spring, won’t be returning to Broadway any time soon. But in fact we have a platform for serious, character-driven drama in this country, and it is more popular and broad-based than Broadway ever was. It’s called cable television.
The inexorable slide of quality theater from the cultural mainstream and the rise of cable TV as the defining dramatic art form of the 21st century is a prime example of technological “creative destruction” at work. The theater of Broadway’s Golden Age was indeed terrific stuff, but as a consumer product it was wildly inefficient. Because shows were live and unrecorded, they could be seen by a limited number of people, many of whom had to travel hundreds of miles to get to the theater. Successful Broadway shows spawned touring companies – as hit musicals still do to this day – but such tours are costly to run and audiences in the smaller cities inevitably get a watered-down version of the real thing, with lower quality actors and production values.
Cable shows like Homeland or Breaking Bad, which airs its series finale this Sunday, are cheap and easily accessible to anyone with a subscription to cable or Netflix. More importantly, though, thanks to a complex set of market forces, all the incentives push cable channels to hire top-drawer actors and writers and allow them the artistic freedom to create compelling characters and story lines, much the way the best Broadway plays did half a century ago. This fragile cultural moment won’t last – more on that later – but for now it seems clear that if Tennessee Williams and Lorraine Hansberry were writing today they would be showrunners for a cable series, because that’s where the audience is.
You can measure the Golden Age of American theater in many ways, but I would mark it from the 1944 debut of The Glass Menagerie to the opening night of Edward Albee’s Who’s Afraid of Virginia Woolf in 1962. There were, of course, serious American playwrights before then – Eugene O’Neill is the best-known, but there were plenty of others – but those writers always seemed slightly ahead of the popular culture of their time. Likewise, many great American plays have debuted since 1962, and a select few, like Tony Kushner’s Angels in America, became part of the wider national conversation.
But for a short time after the Second World War, American commercial theater hit that elusive sweet spot where popularity meets ambitious social and artistic agendas. In his fascinating 1987 autobiography Timebends, Arthur Miller speaks of this era as
a time when the audience was basically the same for musicals and light entertainment as for the ambitious stuff and had not yet been atomized…So the playwright’s challenge was to please not a small sensitized supporting clique but an audience representing, more or less, all of America.
Miller explains how this broad-based, yet culturally hungry audience shaped the work of the era’s two greatest writers, himself and Tennessee Williams. Both men were, to differing degrees, outsiders to American culture – Williams because he was unapologetically gay, Miller because he was a Jew with strong radical beliefs. In another era, Miller says, they might well have slanted their work to please a minority audience that already agreed with them, but suddenly in the postwar years there was a mainstream audience waiting to hear what they had to say, and being both great artists and profoundly ambitious men, they opened their work outward to a mass audience.
To do that, they didn’t preach to their audiences like Clifford Odets did in his political plays of the 1930s or bash the viewer over the head with a bleak vision the way O’Neill too often does in his plays. Instead, Miller and Williams created characters – indelible, psychologically complex protagonists like the struggling salesman Willy Loman riding on a smile and a shoeshine or the tragic, half-mad Blanche DuBois forever depending on the kindness of strangers. These characters had to be psychologically complex and indelibly drawn because that’s how you appeal to a heterogenous audience not already united by social background or political outlook: you get audiences to care deeply about a character, to see themselves in someone who may not be in any outward way like them. Once you’ve done that, an audience will follow you anywhere.
Interestingly, it wasn’t the movies that put an end to Broadway’s Golden Age. Hollywood’s own Golden Age, stretching from the advent of sound in the late 1920s to the late 1950s, roughly overlaps that of Broadway. No, it was TV that killed the Broadway of Miller’s era – that and probably the jet plane. At a time when the only viable home entertainment was radio and all but the stratospherically rich traveled by train, car, or boat, Broadway theater was part of a broader leisure industry that catered to Americans like my grandparents yearning for cultural experiences they couldn’t enjoy in their own hometowns.
But once the desire for entertainment could be satisfied by a magic box in the living room and a desire for horizon-broadening travel could by satisfied by plane trips to Europe and beyond, Hollywood and Broadway had to adapt or die. They did so by splitting their audiences – “atomizing” them, in Miller’s terms – into high and low. After a decade of trial and error, Hollywood reinvented itself in the 1970s with ambitious, director-driven films like Roman Polanski’s Chinatown and Woody Allen’s Annie Hall and money-spinning summer blockbusters like Jaws and Star Wars. Broadway did much the same thing, filling the bigger houses with crowd-pleasing musicals like Cats and A Chorus Line while supporting more adventurous, writer-driven work by the likes of David Mamet, Sam Shepard, and Wendy Wasserstein.
This worked for a time, thanks in large part to off-Broadway and the regional theater movement, which allowed playwrights to grow their careers at subscription-based resident theaters around the country and then bring their most popular work to New York for a money-making Broadway run. This system, low-paying and outside the mainstream as it was, still made for some pretty terrific theater. Shepard, sustained by a long-running affiliation with San Francisco’s Magic Theater, introduced audiences to his singularly bleak and funny Western vision, while August Wilson, who premiered most of his plays at the Seattle Repertory Theater, opened a window onto working-class black characters quite nearly invisible to the mainstream.
But while regional theater provided an audience for more adventurous fare, unlike in Arthur Miller’s day, it was no longer the same audience that went to see the big musicals. Mamet, Shepard, and Wilson, talented as they were, were no longer writing for “an audience representing, more or less, all of America,” but for the “small sensitized supporting clique” that Miller saw as an artistically narrowing force. And then, lo and behold, the free market worked its magic. As Broadway ticket prices escalated to pay for ever more lavish, spectacle-driven musicals, it became harder to persuade theatergoers, even the ones who like the more ambitious stuff, to risk several hundred dollars on a new play.
Enter Carrie Bradshaw and Tony Soprano. Gallons of ink have been spilled, and thousands of terabytes expended, trying to explain why audiences have become so obsessed with characters on modern cable shows, but as Adam Davidson demonstrates in a December 2012 New York Times “It’s the Economy” column, the answer has more to do with business models than any quirk of culture. When there were only three major networks, programming success depended on producing a great number of shows that were just incrementally better than what was on the two other networks, which inevitably led to the creation of a vast wasteland of expensively bland mediocrity.
But once cable blew up the TV dial, giving viewers hundreds of channels to choose from, programmers had to shift their strategy. Now, it wasn’t enough to be just a little better than the competition; now, your shows had to be a lot better. You didn’t have to come up with a huge number of great shows, just one or two at a time would do, but they had to be so good that viewers would become obsessed with the characters and story lines to the point that they would shun cable providers that didn’t carry the channels where those shows appeared.
In other words, out of the morass of network TV, the very technology that ended Broadway theater’s Golden Age, came a sort of small-screen Broadway in which a few big talents – David Simon of The Wire, Lena Dunham of Girls, Vince Gilligan of Breaking Bad, and so on – have been given wide artistic latitude to create characters and stories audiences will care about. Because cable providers often operate as near-monopolies, the average cable bill has doubled in the past decade, and viewers pay close to $90 billion a year for cable service. That is a huge pot of money, and for many cable companies nearly half of their revenue is pure profit, so there is an enormous incentive to get the formula right.
But as Davidson points out in his Times column, this fragile model is already fraying at the seams. So far at least, cable subscribers aren’t canceling in large numbers, but as piracy becomes more pervasive, fewer younger people are signing up for cable in the first place. “When people in their 20s move out of their parents’ house or dorm room, they are less likely to get into the habit of paying for cable,” he writes. “If they get addicted to Breaking Bad, they’ll often download it free through file-sharing services like Bit Torrent or wait for it to come out on iTunes.” To make up for lost revenue, cable providers have to jack up rates, which drives more new viewers away, setting up a vicious spiral that, according to one industry expert Davidson spoke to, could cause the entire edifice to collapse as early as 2016.
What comes after that? The short answer is nobody knows. It could get seriously messy there for a while, leading millions of Breaking Bad and Mad Men obsessives to bore their children with talk of the Golden Age of Cable. But if this history teaches us anything, it is that there is always going to be a sizeable audience that cares about quality drama enough to pay real money for it. After all, in the 1940s, Broadway’s principal competition was local amateur productions and guys on their front porches telling funny stories – a sort of analog version of today’s BitTorrent downloads and YouTube cat videos. My grandfather, who told some pretty funny stories himself, was willing to plunk down serious money to take his family to New York for a few good meals and a chance to see the best writers and performers of his age. I have no idea what entertainment technology will look like when my future grandchildren begin to hunger for something more edifying than a quick joke or a funny story, but my bet is they will be able to find it if they are willing to pay for it.
Image via studentrush.org
Pre-pub buzz had Shani Boianjiu’s debut novel, the intriguingly if somewhat cumbersomely titled The People of Forever Are Not Afraid, as a The Things They Carried—Mean Girls hybrid. If you are finding it just a little difficult to picture a Venn diagram where a novel-in-stories about the Vietnam War intersects with a Tina-Fey-penned movie about the travails of high school girls, consider this: both war and high school are marked by a strange blend of ennui and nearly unbearable stress, of existential dread and petty banality. (But, yes, it’s also true that only one of these makes you ponder the cruel betrayals of fame and fortune vis-à-vis a once fresh-faced, plucky, promising Lindsay Lohan.)
High school may be war, but, ultimately, if one must cast The People of Forever in pop culture terms, the book is mostly reminiscent of the Lena Dunham-created HBO show Girls. With its episodic structure, its unfolding in seemingly standalone stories actually bound together by insistent echoes, and its cast of recently-graduated young women — three, in the case of Boianjiu’s novel, to Dunham’s show’s four — pretending to a maturity, a certainty, they neither possess nor successfully imitate, The People of Forever Are Not Afraid takes as its subject rites of passage, looks at transient but fraught moments in a transitional time. And, like Dunham’s fictional(ized) stand-in Hannah Horvath, Boianjiu may well be the voice of her generation or, at least, a voice of a generation.
Boianjiu’s generation is comprised of the young women who, having completed high school, are conscripted into the Israeli Defense Forces (IDF). Army service provides the backdrop for much of The People of Forever Are Not Afraid, though the book has little to do with the business of war. There are, to be sure, eruptions of violence — a male soldier is very nearly decapitated, the kidnapping of Gilad Shalit and Israel’s subsequent 2006 war in Lebanon are integrated into the plot, and the novel’s third section explores the peacetime aftershocks of armed conflict, for “when the boy soldiers returned from the war they tortured the girl soldiers who waited for them” — but for the most part, the book may well be set in the Brooklyn of Girls. Yael, Avishag, and Lea, the three friends who split narratorial duties and narrative focus, are mostly bored, biding their time at checkpoints, like wasting time in dead-end internships, waiting for their real lives to begin. I don’t mean to make light of the very grave, very deadly geopolitical concerns that are necessarily the background of a novel with its gaze firmly fixed on life in Israel, on life in the Israeli army. But these concerns are mostly background in The People of Forever Are Not Afraid, which reads, above all, as a coming-of-age story.
We meet Yael, Avishag, and Lea when they are still in school, a “caravan of a classroom” in a tiny village on the Lebanese border. (Boianjiu herself grew up in such a town.) Like any students on the verge of graduation, the girls are tempted to ignore the lecture, to pass notes and fantasize about parties and crushes, to speculate about whose house might be without parental supervision long enough to host those parties and entertain those crushes. The lecture at hand is about the “PLO, SAM, IAF, RPG children,” Syrian submarines and Palestinian children trying to shoot RPG rockets at Israeli soldiers and burning each other instead, but, as a sub-chapter heading tells us, “History Is Almost Over.” These young women, like young women everywhere, believe that the past stops with their present, that their futures will be different and special and lovely. And this is of course terrifying.
Army notices are sent out. The girls prepare for service. Yael becomes a weapons instructor, responsible for training other soldiers in the art of marksmanship. (An editorial by Boianjiu in last Sunday’s New York Times revealed that this was her own position during her two years of IDF service. I mention this fact mostly by way of noting that Yael, who bears the heaviest load of the narration, seems closest to the author herself, serving as ego in the triangulated configuration of herself and the imperious Lea and the depressive, impulsive Avishag.) Lea checks documents at a West Bank checkpoint and desperately tries to enter into the history and experiences of the men trying to cross. Avishag serves as a guard overlooking the border. All three pretend at being grownups, at being tough, and all three remain vulnerable, become more vulnerable. They flash back to their childhoods, their conventionally troubled families, to which all three return, however briefly, after the completion of their service. The girls’ reunion becomes a momentarily idyllic return to the safety of childhood configurations, a respite not from war — which is after all a kind of existential truth in their lives — but from the need to pose as confident, as capable. Only about twenty when they leave the army, the girls are poised on the threshold of a world that does not seem to them quite real, and they postpone their entrance by retreating into old patterns, old games.
The author herself is still very young, only twenty-five. She is also the youngest recipient of the National Book Foundation’s 5 Under 35 Award, selected for that honor by the novelist Nicole Krauss. Boianjiu has something of Krauss’s sensibility, her interest in intersecting lives, the seams where unexpected connections are exposed. In The People of Forever Are Not Afraid, Boianjiu showcases a lovely sort of simplicity, allowing the girls’ voices to ring true, to ring young and innocent and sad. In this, she strikes no false notes: Yael and Lea and Avishag are just different enough from each other to be interesting, just similar enough to be believable friends. The book falls apart near the end, asked to bear a burden it has not convincingly built to. It becomes, too suddenly, with too little warning, about war, and it loses sight of the characters who helped us make sense of all that has come before. But, for those moments when Yael and Lea and Avishag and their splendid, troubled, mundane lives are slowly developing in front of us, a strip of photo-booth pictures coming into a precision and a clarity, we fully believe in their existence and their sense of that existence.