There’s a line in my book that reads, “I have been so many things along my curious journey: a poor boy, a nigger, a Yale man, a Harvard man, a faggot, a Christian, a crack baby (alleged), the Spawn of Satan, the Second Coming, Casey.” My reading tends to be torn between—or at the nexus of—all these little (or ginormous) vestibules of myself.
Sobonfu Some’s The Spirit of Intimacy helped me rethink ritual and relationship. Lucille Clifton’s sublime poems in Good Times gave me many nuggets of joy during a difficult year. Richard Siken’s Crush was so devastating when I first read it in 2016, that I try to read it again every year. I don’t think I’ll do the same for Rimbaud’s A Season in Hell, though I’m glad I spent time with it, once.
I was glad to write my book without first reading Frederick Douglass’s Narrative, though I was even more glad to finally read it once I finished, and to know that I was writing in that tradition. Also, it’s hard to complain about anything in my writing life when I compare it to Mr. Douglass’s.
A critic told me, this summer, that my book reminded her of reading Beckett’s Endgame, which I took as a compliment. I read the play myself soon thereafter, and I suppose it was a compliment, though I am a bit less sure now.
Edouard Louis’s History of Violence is a book I keep evangelizing about, along with Maggie Nelson’s The Argonauts. Everyone seems to evangelize about Elena Ferrante’s novels, but I have found her Fratumaglia to be so vital as an example of making a creative life on your own terms. Rilke’s Letters to a Young Poet did the same. So too did The Gospel According to Luke. I think it was Oscar Wilde who suggested Jesus was an artist. Something like that.
Speaking of Jesus, Denis Johnson’s Jesus’ Son knocked me out. The way he describes the sun. I mean. Yes. So much of my work is trying to take old images, old stories, and bring new language to them—maybe that’s any writer’s job. Johnson got it done, as did Anne Carson with Autobiography of Red. Loved it so much I named a character in my book “Red.”
Perhaps the most important books I read this year were: Jane Austen’s Persuasion, Hemingway’s A Farewell to Arms, Jean Genet’s Funeral Rites, and Alice Walker’s The Color Purple. Not important in terms of being the greatest books (though I do believe The Color Purple might be one of the most important queer books ever). These books were important because they helped me better situate myself in certain lineages—or rather, know which lineages I would like to belong to—Genet and Walker, rather than Austen and Hemingway. Not that I am conflating the four into two pairs. But there seemed to be more life and danger and strangeness in the former, and that’s the kind of work I’d like to read and write.
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Out this week: Number One Chinese Restaurant by Lillian Li; History of Violence by Édouard Louis; We Begin Our Ascent by Joe Mungo Reed; All That Is Left Is All That Matters by Mark Slouka; The Melody by Jim Crace; and The Great Believers by Rebecca Makkai.
We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Let us know what you’re looking forward to in the comments, and get excited for the GREAT SECOND-HALF PREVIEW, which we will roll out in the second week of July.
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Kudos by Rachel Cusk: When I first encountered Cusk’s writing in the mid-aughts I wrote her off as an author of potentially tedious domestic drama. I was woefully wrong. It’s true Cusk is a chronicler of the domestic: she is as known for her memoirs of motherhood and divorce as she is for her novels, but her writing is innovative, observant, and bold. The New Yorker declared that with the trilogy that her latest novel Kudos completes, Cusk has “renovated” the novel, merging fiction with oral history, retooling its structure. Cusk has said: “I’ve never treated fiction as a veil or as a thing to hide behind, which perhaps was, not a mistake exactly, but a sort of risky way to live.” (Anne)
There There by Tommy Orange: Set mostly in Oakland, Orange’s polyphonic novel describes the disparate but connected lives of group of Native Americans, many of them self-identified “urban Indians,” who come together for the Great Oakland Powwow. There, personal and communal and national histories propel events–and his cast of characters–toward a shocking denouement. Orange’s novel has been called a “new kind of American epic” by the New York Times; read more here. (Lydia)
Florida by Lauren Groff: After collecting fans like Barack Obama with her bestselling novel Fates and Furies, Groff’s next book is a collection of short stories that center around Florida, “the landscape, climate, history, and state of mind.” Included is ”Dogs Go Wolf,” the haunting story that appeared in The New Yorker earlier in the year. In a recent interview, Groff gave us the lay of the land: “The collection is a portrait of my own incredible ambivalence about the state where I’ve lived for twelve years...I love the disappearing natural world, the sunshine, the extraordinary and astonishing beauty of the place as passionately as I hate the heat and moisture and backward politics and the million creatures whose only wish is to kill you.” (Claire)
Number One Chinese Restaurant by Lillian Li: A family chronicle, workplace drama, and love story rolled into one, Li’s debut chronicles the universe of the Beijing Duck House restaurant of Rockville, Md., run by a family and long-time employees who intertwine in various ways when disaster strikes. Lorrie Moore raves, “her narratives are complex, mysterious, moving, and surprising.” Read an excerpt from the novel here at Buzzfeed. (Lydia)
The Terrible by Yrsa Daley-Ward: A poet’s memoir in prose and verse about a tempestuous adolescence in England, where the author was born to immigrant parents and raised by Seventh-Day Adventist grandparents. The memoir describes her experiences with drugs and alcohol, her relationships with men and with sex work, the struggles of her brother, and her development as an artist. A starred Kirkus review says “Daley-Ward has quite a ferociously moving story to tell.” (Lydia)
Confessions of the Fox by Jordy Rosenberg: A work of speculative historical fiction exploring queer and trans histories through the story of notorious 19th-century London thieves Jack Sheppard and Edgeworth Bess. This is a publishing event, the first work of fiction to be released by esteemed editor Chris Jackson’s One World imprint, and it has received accolades from every trade publication and a host of writers including Victor LaValle, China Miéville, and Maggie Nelson. (Lydia)
Ayiti by Roxane Gay: This is a reissue of Roxane Gay’s first book, a collection of short stories about Haiti and the diaspora, with two new stories. Ayiti was first published by the small press Artistically Declined Press in 2011, before the author was routinely at the top of the New York Times bestseller list. Kirkus says “Gay has addressed these subjects with more complexity since, but this debut amply contains the righteous energy that drives all her work.” (Lydia)
The Great Believers by Rebecca Makkai: This third novel from the acclaimed author of The Borrower and The Hundred-Year House interlaces the story of an art gallery director whose friends are succumbing to the AIDS epidemic in 1980s Chicago with a mother struggling to find her estranged daughter 30 years later in contemporary Paris. “The Great Believers is by turns funny, harrowing, tender, devastating, and always hugely suspenseful,” says Margot Livesey, author of Mercury. (Michael)
Good Trouble by Joseph O’Neill: Frequent New Yorker and Harper’s readers will know that O’Neill has been writing a lot of short fiction lately. With the new Good Trouble, the Netherland author now has a full collection, comprised of 11 off-kilter, unsettling stories. Their characters range from a would-be renter in New York who can’t get anyone to give him a reference to a poet who can’t decide whether or not to sign a petition. (Thom)
Days of Awe by A.M. Homes: A new collection of stories from the prolific author of May We Be Forgiven featuring humorous, melancholy reflections on American life. The title story involves friends becoming lovers at a conference about genocides. The great Zadie Smith calls it “a razor-sharp story collection from a writer who is always ‘furiously good.'” (Lydia)
The Good Son by You-jeong Jeong (translated by Chi-Young Kim): South Korea’s best-selling crime novelist is a woman, although she is nonetheless marketed as “the Stephen King of Korea.” This novel, a sensation in South Korea and her first to be translated into English, is a psychological thriller involving a possible matricide, for “fans of Jo Nesbo and Patricia Highsmith.” (Lydia)
Upstate by James Wood: It’s been 15 years since Wood’s first novel, The Book Against God, was published. What was Wood doing in the meantime? Oh, just influencing a generation of novelists from his perch at The New Yorker, where his dissecting reviews also functioned as miniature writing seminars. He also penned a writing manual, How Fiction Works. His sophomore effort concerns the Querry family, who reunite in upstate New York to help a family member cope with depression and to pose the kinds of questions fiction answers best: How do people get through difficulty? What does it mean to be happy? How should we live our lives? (Hannah)
Convenience Store Woman by Sayaka Murata (translated by Ginny Tapley Takemori): A 36-year-old woman in modern-day Tokyo has worked a convenience store for 18 years of her life, watching family and friends pairing off, having children, or climbing professional ladders. She eventually enters into a sham marriage with a coworker to embody an idealized notion of adulthood, but the plan backfires, and the book is a meditation on work, life, and “normalcy.” Kirkus says “Murata skillfully navigates the line between the book’s wry and weighty concerns and ensures readers will never conceive of the ‘pristine aquarium’ of a convenience store in quite the same way.” (Lydia)
Half Gods by Akil Kumarasamy: A collection of linked stories about a family devastated by the Sri Lankan civil war, which claims the lives of a mother and two sons. The father and remaining daughter flee to New Jersey, and the collection moves across time and place and between points of view to describe the dislocation of its characters and the enduring consequences of trauma. Publisher’s Weekly calls it “a wonderful, auspicious debut.” (Lydia)
History of Violence by Édouard Louis (translated by Lorin Stein): A fictionalized account of a true story. The author survived a violent sexual assault and this novelization exploring the aftermath, including his return to his family’s village, became a bestseller in France for its frank reckoning with the effects of sexual violence, as well a broader look at French society. (Lydia)
Sweet and Low by Nick White: A new entry in the field of southern gothic (complete with Faulkner homage), a collection of stories exploring masculinity, sexuality, and place in the deep south that has garnered praise from Jesmyn Ward and Alissa Nutting. Publisher’s Weekly called it “an atmospheric and expertly crafted collection.” (Lydia)
We Begin Our Ascent by Joe Mungo Reed: A debut novel that follows the travails of a team of professional cyclists–who happen to be doping–in the Tour de France, exploring ideas of competition, ambition, and team dynamics. The novel has drawn several comparisons to Don DeLillo, and George Saunders raved: “A dazzling debut by an exciting and essential new talent: fast, harrowing, compelling, masterfully structured, genuinely moving. Reed is a true stylist.” (Lydia)
Dead Girls by Alice Bolin: A collection of essays exploring the ubiquitous “dead girl” in popular culture, using shows like Twin Peaks and Pretty Little Liars to point to the misogyny that thrums through so many of the cultural products we consume. These are interwoven with personal essays about her arrival in Los Angeles. Kirkus calls it “an illuminating study on the role women play in the media and in their own lives.” (Lydia)
Sick by Porochista Khakpour: In her much anticipated memoir, Khakpour chronicles her arduous experience with illness, specifically late-stage Lyme disease. She examines her efforts to receive a diagnosis and the psychological and physiological impact of being so sick for so long, including struggles with mental health and addiction. Khakpour’s memoir demonstrates the power of survival in the midst of pain and uncertainty. (Read an excellent piece in The New Yorker here.) (Zoë)
The Captives by Debra Jo Immergut: Immergut published a collection of short stories in 1992, shortly after graduating from the Iowa Writers’ Workshop, but her debut novel comes over 25 years later, a literary thriller that takes place in a prison where a woman is serving a sentence for second-degree murder. Her appointed psychologist once pined for her in high schhol. Publishers’ Weekly says “Immergut’s book begins as in incisive psychological portrait of two mismatched individuals and morphs into a nail-biting thriller.” (Lydia)
Tonight I’m Someone Else by Chelsea Hodson: Examining the intersection of social media and intimacy, the commercial and the corporeal, the theme of Hodson’s essay collection is how we are pushed and pulled by our desire. The Catapult teacher’s debut has been called “racingly good…refreshing and welcome” by Maggie Nelson. (Tess)
Fight No More by Lydia Millet: Millet’s 2010 collection Love in Infant Monkeys was a Pulitzer Prize finalist. Eight years later she’s released another collection of stories arranged around a real estate broker and their family as they struggle to reconnect. Millet’s satire is well-known for it’s sharp brutality—and its compassionate humanity. Both sides are on full display here. (Kaulie)
Invitation to a Bonfire by Adrienne Celt: On the heels of her critically praised debut, The Daughters, Celt gives us a love-triangle story that, according to the publisher, is “inspired by the infamous Nabokov marriage, with a spellbinding psychological thriller at its core.” The protagonist is a young Russian refugee named Zoya who becomes entangled with her boarding school’s visiting writer, Leo Orlov, and his imperious wife, Vera. Our own Edan Lepucki praised the novel as “a sexy, brilliant, and gripping novel about the fine line between passion and obsession. I am in awe of Celt’s mastery as a prose stylist and storyteller; I can’t stop thinking about this amazing book.” (Sonya)