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The Great Fall 2024 Book Preview

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With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them. —Sophia Stewart, editor October Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F] What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico. Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch The Black Utopians by Aaron Robertson [NF] What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans  the Reconstruction era to the present day and combines history, memoir, and reportage. Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F] What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway. Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS Brown Women Have Everything by Sayantani Dasgupta [NF] What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel. Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS The Plot Against Native America by Bill Vaughn [F] What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy. Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS The Mighty Red by Louise Erdrich [F] What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles. Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK The Position of Spoons by Deborah Levy [NF] What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style. Who it's for: Close lookers and the perennially curious. —John H. Maher The Bog Wife by Kay Chronister [F] What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything. Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS The Great When by Alan Moore [F] What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it. Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman The Message by Ta-Nehisi Coates [NF] What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians. Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck Abortion by Jessica Valenti [NF] What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy. Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F] What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English. Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS Childish Literature by Alejandro Zambra, tr. Megan McDowell [F] What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family. Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS Books Are Made Out of Books ed. Michael Lynn Crews [NF] What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences. Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM Slaveroad by John Edgar Wideman [F] What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers. Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS Linguaphile by Julie Sedivy [NF] What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence. Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS An Image of My Name Enters America by Lucy Ives [NF] What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy, Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS Women's Hotel by Daniel Lavery [F] What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel. Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK The World in Books by Kenneth C. Davis [NF] What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion. Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS Blue Light Hours by Bruna Dantas Lobato [F] What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut. Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF Riding Like the Wind by Iris Jamahl Dunkle [NF] What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath. Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK Innie Shadows by Olivia M. Coetzee [F] What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language. Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS Dorothy Parker in Hollywood by Gail Crowther [NF] What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare. Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF] What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet. Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF Mysticism by Simon Critchley [NF] What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way. Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS Q&A by Adrian Tomine [NF] What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening. Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB Sonny Boy by Al Pacino [NF] What it is: Al Pacino's memoir—end of description. Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS Seeing Baya by Alice Kaplan [NF] What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager. Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS Absolution by Jeff VanderMeer [F] What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy. Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM The Four Horsemen by Nick Curtola [NF] What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem). Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F] What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village. Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS Ripcord by Nate Lippens [NF] What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee. Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF] What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance. Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS Nora Ephron at the Movies by Ilana Kaplan [NF] What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years? Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB [millions_email] The Philosophy of Translation by Damion Searls [NF] What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al. Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS Salvage by Dionne Brand  What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return. Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS Masquerade by Mike Fu [F] What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend. Who it's for: fans of Ed Park and Alexander Chee. —SMS November The Beggar Student by Osamu Dazai, tr. Sam Bett [F] What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler. Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF In Thrall by Jane DeLynn [F] What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982. Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS Washita Love Child by Douglas Kent Miller [NF] What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more. Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F] What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan. Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF Didion & Babitz by Lili Anolik [NF] What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu. Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS The Endless Refrain by David Rowell [NF] What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture. Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS Every Arc Bends Its Radian by Sergio De La Pava [F] What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy. Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS Something Close to Nothing by Tom Pyun [F] What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues. Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB Rosenfeld by Maya Kessler [F] What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss. Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF Lazarus Man by Richard Price [F] What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem. Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS Stranger Than Fiction by Edwin Frank [NF] What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century. Who it's for: Readers who look at a book's colophon before its title. —JHM Letters to His Neighbor by Marcel Proust, tr. Lydia Davis What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time. Who it's for: Proust lovers; people who live below heavy-steppers. —DF Context Collapse by Ryan Ruby [NF] What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic. Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS How Sondheim Can Change Your Life by Richard Schoch [NF] What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music. Who it's for: Sondheim heads, former theater kids, end of list. —SMS The Serviceberry by Robin Wall Kimmerer [NF] What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners. Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F] What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery. Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM Yoke and Feather by Jessie van Eerden [NF] What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life. Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS Camp Jeff by Tova Reich [F] What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide. Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS Selected Amazon Reviews by Kevin Killian [NF] What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site. Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF Cher by Cher [NF] What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it. Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F] What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself. Who it's for: Murakami fans who have long awaited his return to fiction.  —DF American Bulk by Emily Mester [NF] What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my! Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF The Icon and the Idealist by Stephanie Gorton [NF] What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control. Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS December Rental House by Weike Wang [F] What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship. Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem. Woo Woo by Ella Baxter [F] What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop. Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]  What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis. Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F] What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media. Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB The Shutouts by Gabrielle Korn [F] What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse. Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS What in Me Is Dark by Orlando Reade [NF] What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt. Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS The Afterlife Is Letting Go by Brandon Shimoda [NF] What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S. Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F] What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle. Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F] What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel. Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM Tali Girls by Siamak Herawi, tr. Sara Khalili [F] What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories. Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS Sun City by Tove Jansson, tr. Thomas Teal [F] What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them. Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com. [millions_email]

Middlemarch: The Fraught Lives of Women and Men

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It sells Middlemarch short to call it a novel of manners, although if viewed from just one angle it is. The novel describes the precisely ordered life of the eponymous village in feudal England, where every resident can be placed on a grid according to his annual income and the quality of his lineage. There are characters with small parts in Middlemarch, but no minor ones, so fully drawn are all of George Eliot's creations. Principally the story concerns the life of Dorothea Brooke, a young and beautiful women of the upper class whose spiritual discontent leads her astray in marriage. There is also Tertius Lydgate, a cocky and ambitious doctor come lately to town, and Mr. Bulstrode, a new money banker with a mysterious past. Each chases love, money, and respectability in proportion to his needs and finds that the strictures of society, even more than the dictates of his conscience, shape the person he will become.In the middle of all this stands Eliot, whose presence is unmistakable as the energy that makes this fictional world go round. Writing of one character who has just lost his temper, the narrator says, "Will was not without his intentions to be always generous, but our tongues are little triggers which have usually been pulled before general intentions can be brought to bear." This is typical of the way Eliot annotates, observing wisely on the fraught behavior of men, like the angel in It's a Wonderful Life who tells George Bailey all about his life. James Wood, in How Fiction Works, called this perspective "authorial omniscience," and it has the tendency to feel antiquated to us, a relic of a simpler time when the whole world might be understood according to such strict and unvarying codes.There are, in any story, always two competing forces, an individual's will and social prerogative. When the two are held to be fixed and immovable, you get the best melodramas, like Romeo and Juliet. It's a simpler class of story, one we respond to but no longer really believe to accurately describe things as they are. On the other end of the spectrum you have today's conditions of storytelling, where neither individual identity nor the social order have any fixed anchors, resulting in all manner of existential confusion when the two mix together. Middlemarch, however, exists somewhere in between and the result is as pure and exacting as ballet.About halfway through the book, as a husband and wife contemplate the suitability of a young man for their daughter, Eliot writes, "A human being in this aged nation of ours is a very wonderful whole, the slow creation of long interchanging influences." It is just that interchange of influences that Eliot sketches in Middlemarch and she does so with a fluency for human behavior that is quite often breathtaking. Take for example this small scene, describing the Vicar Farebrother after a brief interview with the eligible Mary Garth:As the Vicar walked to Lowick, any one watching him closely might have seen him twice shrug his shoulders... The Vicar was holding an inward dialogue in which he told himself that there was probably something more between Fred and Mary Garth than the regard of old playfellows, and replied with a question whether that bit of womanhood were not a great deal too choice for that crude young gentleman. The rejoinder to this was the first shrug. Then he laughed at himself for being likely to have felt jealous, as if he had been a man able to marry which, added he, it is as clear as any balance-sheet that I am not. Whereupon followed the second shrug.Here, Eliot is able to slow the world down enough to capture not only that the Vicar would shrug twice, but exactly why he would do it. The resolution with which she is able to observe her characters reminds me of great baseball hitters who see in slow motion what appears to the rest of us to be impossibly fast. Such is Eliot's ability to dip into the torrent of human experience and master it.As commanding as Eliot's view is, it is not static. Her central characters - Dorothea, Lydgate and Bulstrode - live contingently, always on the edge of transformation. Throughout the story they come to have a keener understanding of their own desires, a process of self-understanding that occurs through dialogue with other characters and the unerring rebound of the social order. Society itself is fixed (although Eliot does critique feudal landholdings and insincere religiosity) and in this, Middlemarch describes a world that is no longer ours. But the dialectic of her characters is timeless. Dorothea tests her spiritual longing against an unexpected passion. Lydgate wrestles with his professional ambitions matched against a wife who would seem to spoil him at every turn. Bulstrode struggles to reconcile his religiosity with more base urges, a desire for money and a fear of shame. As the characters try and evolve they arrive at inexact and unintended places. But that they do is not an indictment of the rigid social order. It is instead an exposition of human frailty, of our inability to know our own desires let alone to conquer them. Far from just a novel of manners, Middlemarch is a monument to the fraught lives of women and men. It is, quite undeniably, great.

A Year in Reading: Garth Risk Hallberg

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Millions contributor Garth Risk Hallberg is the author of the novella A Field Guide to the North American Family and is a 2008 New York Foundation for the Arts fellow in fiction. This year, his work appeared in the anthologies Best New American Voices and Best of the Web.When it comes to books, I'm less a gourmet than a gourmand. It's not that the slim, perfect novel doesn't excite my palate, but when I'm in the middle of a sensational meal, I want it never to end - or at least to give the illusion of infinitude. And so I hunger for big books - thousand-calorie entrees I wrap rubber bands around to keep the bindings intact.This year, as I approached my thirtieth birthday, these big books appealed to me with even greater urgency. At some point soon, the demands of family life and the writing life are going to leave me with less time for "loose, baggy monsters," and so I've been trying to get the important ones under my belt. After all, there are only so many behemoths out there, right? Well, it turns out that big books share certain Hydra-like properties with books in general. This year, I knocked off ten enormous tomes; I added about twenty to my "to-read" list.The best of the best - the book that came closest to being everything I want in a novel - was Mortals (712 pp), by Norman Rush. It's a funny book, in that it forgoes the immediate pyrotechnics of Rush's first novel, Mating (a mere 474 pp), which I also read this year. Still I'm convinced that, once you've acquired a taste for Rush's penetrating yet hugely compassionate voice - his astonishing negative capability - you will find Mortals to be one of the two or three best American novels published this decade. And it just gets better as it goes along: the 100-page climax is almost literally explosive.A close second was Roberto Bolaño's 2666 (893 pp), a novel I'm still thinking about, half a year after first reading it. As with Mortals, I hesitate to recommend diving straight into it; you might want to learn to trust Bolaño, as I did, by first reading his more trenchant performances (Nazi Literature in the Americas (227 pp including epilogue) (review), then Distant Star (149 pp), and then The Savage Detectives (still comparatively lean at 577 pp) (review)). But 2666 is a cabinet of wonders, and a landmark in contemporary letters.Inspired by Joshua Ferris' 2007 Year in Reading entry, I went on a late-period Henry James bender this year, which (to return to the food metaphor) is sort of like gorging on lobster with a heavy cream sauce. In its rich evocation of human subjectivity, The Wings of the Dove (711 pp) is a dazzling technical achievement, but it's James' deep feeling for his characters that makes this my favorite of his novels. Of course, if the representation of subjectivity is to your taste, I should also recommend Under the 82nd Airborne (230 pp in The Stories (So Far) of Deborah Eisenberg) (review), in which our finest short story writer refines into deft turns of phrase what James took pages and pages to do. I think of Eisenberg and James as two-thirds of a triumvirate: Discoverers of the American Mind. The third third is Saul Bellow, with whom I spent most of June. Of the several books I read, Mr. Sammler's Planet (260 pp) struck me as the most surprising, courageous, and challenging.Ms. Eisenberg's advocacy, at a PEN World Voices panel, persuaded me to sate my appetite for German-language literature with Robert Walser's Jakob van Gunten (176 pp), a bewitching (and blessedly brief) evocation of adolescence. I also marveled at Alfred Döblin's pitch-black Berlin Alexanderplatz (378 closely printed pp). Then I turned back to the big American novel. Joseph McElroy's Women and Men (1192 pp) is the longest book I have ever read, by a good 150,000 words. It took me six weeks to finish, at least, and, python-like, I'm still digesting, but the achievements in sections like "Larry," "the future," and "Alias Missing Conversation" rank with the best of Pynchon, Barth, Gaddis, and David Foster Wallace.Speaking of Wallace, the best book I re-read this year was Infinite Jest (1079 pp with footnotes), which was fresh in my mind when news of the author's death reached his readers. IJ still looks to me like the fictional high-water-mark of a generation. I welcome debate on this point, but revisiting the book debunks claims that Wallace is too intellectual, too indulgent, or too stylized; here, he does everything the ten next-best American writers can do, and does it better (see, e.g., pp 851- 981). That we'll never get to see another novel from him is an incalculable loss.Fortunately for us, the reservoir of literary talent in his generation runs deep; following other writers as they advance the cause of fiction forward is a kind of consolation. Trance (505 pp), by Year in Reading participant Christopher Sorrentino, was the book by a young American that most impressed me this year (review). The writing - tough, funny, elegant, jive - really astonished me, as did the way the novel mobilizes the 1970s in service of the now. I guess all history really is present history.The work of nonfiction I most enjoyed in 2008 was Janet Malcolm's Gertrude and Alice: Two Lives (224 pp). Malcolm is at least as good a critic as she is a journalist; her approach to literature is refreshingly humble, nimble, curious, and delighted. (I'm reading her Chekhov book now (205 pp.)) I only made it halfway through Gertrude Stein's novel The Making of Americans this summer (it's an annual endeavor; 925 pp), but Gertrude and Alice, which I devoured in a single, lovely July day, was a welcome substitute. I would also be remiss if I didn't mention Timothy Donaldson's book on the development of alphabets, Shapes for Sounds. Reading it is like sitting in on a lecture by the most brilliant professor in the department. It is also - not incidentally - a triumph of design on the order of David Macauley.Finally, I have to say something about political books, which functioned this year as quick, bitter palate-cleansers. For eight years, a small corps of investigative journalists - Hersh, Wright, Mayer, Packer - has been working to keep our government honest. I'd like to nominate Washington Post reporter Barton Gellman for inclusion on this honor roll. In addition to being a riveting, lively, and infuriating read, his book, Angler (384 pp), introduced me to one of the most fascinating literary characters I've yet encountered: Richard B. "Dick" Cheney. For pure, mysterious "lifeness" (to borrow the most useful term from James Wood's How Fiction Works (248 pp)), Cheney rivals Wallace's Don Gately, and Rush's Ray Finch, Bellow's Artur Sammler, and Eisenberg's many protagonists. We'll be chewing over (or choking on) his legacy for years to come. It's a good thing we'll have good books, large and small, to nourish us along the way.More from A Year in Reading 2008