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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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A Brief History of the Colloquial Title
It’s a single line of dialog in Ernest Hemingway’s classic story, “Hills Like White Elephants,” but that one line, 11 words, has had an outsized influence on the course of literary titling. It’s spoken by the female character, Jig, as she waits for a train in Zaragosa with her unnamed American man. In the train station they begin drinking, first cervezas then anisette, and soon conduct a suppressed dispute about whether or not to end a pregnancy. Tensions mount, differences are exposed, and with that, Jig utters the legendary line. It’s a breaking point that is as much textual as emotional: “Would you please please please please please please please stop talking?”
Hemingway couldn’t have known the legacy that line would have -- or maybe he did, he famously sought “a prose that had never been written.” When the story was published in 1927, the line broke open a new way characters talked on the page. Exactly four decades later, that groundbreaking colloquy resurfaced as a stylistic approach to the contemporary American literary title. Raymond Carver’s story, “Will You Please Be Quiet, Please?” published in 1967 (the titular collection appeared in 1976), echoed Hemingway’s line, and in turn spawned a subgenre of titling in the vernacular style.
What I’ve come to think of as the colloquial title rejects literary tone for the purely voice-driven. Colloquial titles can be wordy, even prolix, and often make use of a purposefully curious yet catchy syntax. The colloquial title is based in common parlance, but also draws on aphorism, the stock phrase, and familiar expressions. For a more elevated voice-driven title, look to the literary/biblical allusion, the colloquial title’s highborn cousin. With exemplars like As I Lay Dying and Slouching Toward Bethlehem, the allusion-based title has undisputed gravitas, and frankly, when it comes to authoritative tone, is hard to beat. Think of The Violent Bear It Away and A River Runs Through It.
And yet, ordinary language is equally capable of authority. Like any compelling title, those based in the vernacular can deftly portray a sense of foreboding, loss, or lack. Plus, when ordinary language is placed in a literary context, meaning can shift and complicate, taking shades of tone it might not otherwise. It might even be said that, unlike the conventional variety, the colloquial title is captivating even when its message is trouble-free.
There is a certain power in hearing phrases we know and may have used ourselves. When a title speaks to us in everyday language, it’s not so different from any voice aiming to get our attention. I read a colloquial title and hear a speaker with an urgent message. Maybe like Jig’s, its phrasing is odd, idiosyncratic. Or, where one speaker might as easily equivocate, another may cut in, or confess. Or be presumptuous and opinionated. Whatever the persona, the colloquial title leans in close and says I’m talking to you, and I listen, eager to know what lies beyond that strangely familiar voice.
Here then is a sampling of colloquial titles, culled from eight decades of classic and contemporary literature.
1. Classics of the Form
An early example of the colloquial impulse is Horace McCoy’s They Shoot Horses Don’t They? (1935). The title of this Depression-era portrait adopts ironic tone to reference the period’s human desolation and the suffering of its characters.
William Gass’s collection In the Heart of the Heart of the Country (1968) uses the power of repetition to suggest a journey to the deeper realms of character and place. The recursive device proved influential, as demonstrated by more than a few of the examples that follow here.
Leonard Michaels’s I Would Have Saved Them If I Could (1975) is an exemplar of the colloquial approach. The title seamlessly integrates the prose style of the collection and its mood of uncertainty and pathos.
Charles Bukowski’s You Get So Alone at Times That It Just Makes Sense (1986). Bukowski’s style pays a debt to the Hemingway prose style, to the confessional tone of the Beat Poets, and, to this reader’s ear, the personalized truth-telling of the '60s.
David Foster Wallace’s A Supposedly Fun Thing I’ll Never Do Again (1997). The distinct SoCal syntax and wry tone make this title a classic of the colloquial style.
2. The Aphoristic Vein
Common phrases and well-worn adages make ideal colloquial titles. Somehow, in a title, platitudes and cliché never feel stale, but spark irony and double-meaning.
Flannery O’Connor’s A Good Man is Hard to Find (1955). The title is drawn from a popular idiom of its day, and the homespun tone runs against the grain of the titular story’s mystical, violent drama.
William Maxwell’s novella So Long See You Tomorrow (1979) and Elizabeth McCracken’s collection Here’s Your Hat What’s Your Hurry (1993). Both operate on the familiarity of common parlance (and what might be called the gravity of goodbye), not to mention direct address: we read “you” and feel at once a stand-in for the addressee.
Jean Thompson’s collection Who Do You Love (1999). While a good number of colloquial titles take the form of a question, Thompson’s intentionally drops its question mark. The lyric from the Bo Diddley song is used without its original punctuation, shifting the phrase to an assertion, a stark refrain that echoes throughout the collection.
Amy Bloom’s collection A Blind Man Can See How Much I Love You (2000). Here, aphorism meets avowal and reflects the fierce attachments that occupy Bloom’s stories of youth, aging, loss, and hope.
Adam Haslett’s collection You Are Not a Stranger Here (2002). Another appropriation of dialog. Here, the outsider tone is a salutation that is both welcoming and sorrowful, and likewise defines the collection.
3. Matters of Opinion
This colloquial vein might be called the idiosyncratic declarative, a variety of title distinguished by off-kilter observation, unconventional syntax, and the frequent use of personal pronouns:
In this category, Raymond Carver alone spawns a near-genre of declarative titling. The story collections Will You Please Be Quiet, Please? (1976) and What We Talk About When We Talk About Love (1981) and the poetry collection Where Water Comes Together With Other Water (1985), are seminal in their approach. Crucial to the effect is the nonliterary usage, as is repetition. Notable too is the tone of candor, rather than irony.
Lorrie Moore’s story “Which Is More Than I Can Say About Some People,” from Birds of America (1998) reframes the declarative title as an ironic aside. Likewise, Moore’s formative “People Like That Are the Only People Here: Canonical Babbling in Peed Onk,” takes the conversational into a uniquely personal lexicon.
William Gay’s I Hate to See That Evening Sun Go Down (2002), is defined by a plaintive tone and suggestion of intimate disclosure.
Robin Black’s collection If I Loved You I Would Tell You This (2010) is a prime example of a declarative with an artfully placed hanging pronoun.
Richard Ford’s Let Me Be Frank With You (2014). In the latest installment of the Frank Bascombe saga, an old adage takes the form of wordplay.
Finally, not to be overlooked in this category, Nathan Englander’s collection What We Talk About When We Talk About Anne Frank (2013), a riff on Carver’s iconic title.
4. Be Forewarned
Everyday language can spawn titles of a more unusual sort, whether instructional, cautionary, or sometimes surreal. The style often has a portentous tone, and interestingly, makes frequent use of the first person plural.
Joshua Ferris’s Then We Came to the End (2007). This pronouncement marks many endings within the novel -- of a century, a booming economy, a job, a relationship.
Ramona Ausubel’s No One is Here Except All of Us (2012). Here, the title is foreboding, an augur that taps into the novel’s speculative, catastrophic history.
Adrianne Harun’s A Man Came Out of a Door in the Mountain (2013). Colloquy here takes on a solemn and surreal turn, setting the tone for a tale of tragic disappearances.
Matthew Thomas’s We Are Not Ourselves (2014). The title is a literary allusion (from King Lear), referencing the novel’s characters who, as Thomas has said, “by dint of circumstances are not allowed to be themselves.” Karen Joy Fowler’s We Are All Completely Beside Ourselves (2013), contains a voice-driven prologue that begins, “Those who know me now will be surprised to learn I was a great talker as a child.” It’s a perfect opening to a novel with a colloquial title that, in typical style, doesn’t hold back.
A Year in Reading: Susan Straight
Someone like me -- who reads all the time, every day of every week of every year, famous among my family and neighbors who never read and so gently make fun of me when we’re in the parking lot of a playoff game or in the bleachers or at the hospital holding vigil for yet another relative dying far too young – needs a reading companion. I never thought it would be a daughter, but my eldest, at 23, who lives in Texas now, is that. We trade novels, send each other books in the mail, and talk about them as if we were friends – which we are not. She is my child, the one who learned to read at three and never stopped – exactly what I did.
But she is not home.
This year, we were obsessed with women mystery writers whose work we stayed up late to finish – Kate Atkinson, Denise Mina, Tana French (English, Scottish, and Irish!) as well as Laura Lippman’s first Baltimore novels.
This year, I read Clarice Lispector for the first time, which was rewarding and intellectual work.
But the words which affected me most, the stories I discovered accidentally and thought about all year, were from Tennessee. Short stories. The form everyone sighs about as if it will expire. No. Uh-uh. Not at my house.
In January, in the library, running my fingers along the spine for Ernest J. Gaines, since I was going to teach two of his novels and wanted extra copies for students with no money, I paused at William Gay. I Hate to See That Evening Sun Go Down. And that is what I read over and over, all winter and spring. Those stories! An old man banished to a retirement home and coming back to his farm in rural Tennessee, where the fence posts and mist and woods and fields are like heaven to him, his son trying to dislodge him because he’s rented the place to “poor white trash,” the epic battle featuring a taxidermied dog and flammable liquids. Another old man, burden on his son, a murderous fighter who’s lost his memory but not his cunning and anger, and Gay’s descriptions of his mind and bludgeoning strength somehow lyrical. A younger man -- a paperhanger -- a suitcase, a small child, a death, and a mistake.
Gay's prose speaks for itself:
It came to him that he was a repository of knowledge that was being lost, knowledge that no one even wanted anymore. The way the earth looked and smelled rolling off the gleaming point of a turning plow, the smell of the mule and the feel of the sweat-hardened harness and the way the thunderheads rolled up in the summer and lay over the hills like malignant tumors and thunder booming along the timberline and clouds unfolding in a fierce and violent coupling and seeding the furrows in a curious gift of ice that lay gleaming in the black loam like pearls.
That is the old man, returned to his own farm and relegated to the tenant shack. He may remind my daughter of her own grandfather in Oklahoma, or it may just be that even I feel this way now - that what I learned as a child is now extraneous, except to my memory.
William Gay had left Hohenwald, Tennessee, his birthplace, to live in Chicago and New York, but he returned home in 1978 and never left again. I left my home in California that year, was gone briefly, and returned in 1984, and will probably never leave. I read those stories every night, envisioning a writer who returned to his small unremarkable birthplace which was peopled and haunted with hundreds of stories, as is mine. He made his place magical and frightening and indelible, which is what I always hoped to do. In February, he died there, in Tennessee, just after I finished the stories for the first time, and began to read them again.
I returned the library book. I missed it. This week, I’m buying a copy for my daughter, to send her for Christmas. Gay’s people, though white men from rural Tennessee, will remind her of her own uncles and friends from here, the place she left, the library where I was so lucky to touch a spine and stop. William Gay’s fencewire and porches and people.
More from A Year in Reading 2012
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Post-40 Bloomers: The Stories of William Gay
Click here to read about “Post-40 Bloomers,” a new monthly feature at The Millions.
1.
In answer to a question at the Clarkesville Writers Conference in 2010 about how his life has changed since he’s achieved literary success, William Gay said, “If I hadn’t wanted to be a writer so much, I’d probably still be married […] It was like being Pa Ingalls in 'Little House on the Prairie,' and then suddenly I was going to writers’ conferences and that kind of stuff. It was pretty jarring, to be honest about it.”
Gay was 55 years old, in 1998, when his first stories were published in the Georgia and Missouri Reviews. An editor at the Missouri Review who had publishing house connections asked if he had a novel, and he did; in 1999, Gay’s first novel The Long Home was published by a small press in Denver. He’d been writing since he was 15 years old. In the intervening years, he’d been in the Navy, lived in New York and Chicago for short periods of time working in factories, then returned to his birthplace of Lewis County, Tenn., where he worked many years as a construction worker, carpenter, and house painter. He has lived in Hohenwald, Tenn., five miles from where he was raised in a sharecropper's cabin, for some 30 years now.
Gay's stories have appeared in Harper’s, GQ, The Atlantic, Southern Review, and the Oxford American, among others, and have been widely anthologized. He has published two additional novels, Provinces of Night and Twilight, both to critical acclaim. (Provinces of Night was made into a movie, Bloodworth, starring Kris Kristofferson, in 2010). He has been referred to as “the Faulkner of Tennessee”—high praise for someone who cites Faulkner as the writer about whom he feels this way: “Sometimes you read something so good that you want to break your pencils… you feel sad because you know you’ll never be that good […] but at the same time you feel good because someone else did it and you can read it, it’s in the world.” Critics place Gay’s work firmly in the tradition of the Southern Gothic, with Faulkner and Thomas Wolfe (one of his earliest influences), Flannery O’Connor and Carson McCullers. He is also often compared to Cormac McCarthy (the epigraph for Provinces of Night is from McCarthy’s Child of God)—if for no other reason because of his omission of quotation marks around dialogue: “If you don’t have the quotes, it’s just more natural to me, it’s just part of the narrative. Also, when I read The Orchard Keeper I noticed that Cormac McCarthy didn’t use quotes either; so I figured it was okay.” (In his review of The Long Home in 1999, Tony Earley suggested that Gay was in fact overly imitative of McCarthy to his detriment.)
2.
“You Southerners. I’ve been here for 15 years, and I’ll never understand you,” says young Fleming Bloodworth’s English teacher, Mr. Spivey, in Provinces of Night. He is a lonely man, and a cripple, but is offering to “help” the boy (in whom he sees a burgeoning intelligence) through his family troubles. “We do just fine on our own,” Fleming replies. So Gay establishes the sense that the South is a world unto its own, that the outsider will always have limited access, will never know. Reading Gay you get the sense that he wants you to simultaneously live in his world but also respect its sacred ground from your proper place (even watching him read at the Clarksville Conference on YouTube felt a bit voyeuristic). Like Spivey, I find myself deeply drawn to the tragedies and ecstasies of rural Southern life, and yet not quite worthy of full access, of the kind of ownership that as readers we want to claim when we love certain books.
For better or for worse, I experience Gay’s vision and talents as transcendent of regional bounds; unlike the reviewers at Publisher’s Weekly, who wrote that his 2002 story collection I Hate to See That Evening Sun Go Down “confirms his place in the Southern fiction pantheon,” I would not include the word “Southern” in that assessment, if it is meant in some way to put limits on the emotional and spiritual reach, or literary prowess, of Gay’s fiction. Such valuations needn't, at any rate, represent either/or delineators; while Gay himself might prize being considered among the Southern greats, his stories of desolation and beauty—brimming, yes, with the familiar Gothic elements of violence and darkness of hearts—feed and trouble our souls, whether or not we come to the text already knowing the “timeless tolling of whippoorwills […] both bitter and reassuring,” or have passed ugly nights in a honkytonk, or keep a rifle or a pistol (or both) under the bed (as most of Gay’s characters do). “You need to know what a man’s capable of. You need to know what things cost,” says a character in the story “Crossroads Blues,” and this for me captures Gay’s literary-existential universe. To this reader, Gay is essentially a romantic writer, who sees the full range of humanity’s nobility and evil in the doings and beings of his mid-century rural Tennessee—bootleggers, veterans, farmers, carpenters, pimps, whores, fathers and sons and murderers and thieves (especially), squatters, musicians, porch-rockers, drifters, and hunter-gatherers. “Well,” said Gay, both shrugging and off and enjoying the comparison, “I guess Tennessee needs a Faulkner.”
3.
But back to those rifles and pistols.
If you are new to Gay, you might do well to start with his short stories, collected in I Hate to See That Evening Sun Go Down (The Free Press, 2002) and also in a slim, self-published (or locally-published, it’s not quite clear) volume of just two stories called Wittgenstein’s Lolita. A murder lurks in the recesses of every story—often by gunfire, though not always; sometimes homicide, not infrequently canicide. Gay likes the murder as a secret that a person carries around like a talisman, a confession that emerges late in the story: You need to know what a man’s capable of. But Gay manages—without trivializing the act of murder exactly (though the sheer frequency of it does give a non gun-toter pause)—to make each story, each life, about much more, about something other, than moral judgment. In Gay’s universe—in his landscape that is at once wild and wasted and Arcadian, where scoundrels bury their gold in fruit jars, and both the guilty and the innocent vanish from the face of the earth without a trace—a man kills for a clear reason, or for no apparent reason. Either way, a dark, compelling mystery brews.
For Gay, the killing itself seems to be both the least arresting, and the least verifiable, of acts: In “A Death in the Woods,” a woman’s lover is found dead in the nearby forest, the death ruled a suicide. Her unknowing husband puts the pieces together, then confronts her:
“What made him do it? Did he get in over his head and you brushed him off? Did he break it off and you were about to tell his wife? Or did you shoot him yourself?
She went on serenely packing clothes […] I sort of got the impression that that sheriff thought you knew a lot more than you were saying. Perhaps you did it yourself.”
In “The Paperhanger,” a disturbed man confesses to his former employer that, years before, he killed his wife (and dug up a grave in which to toss her body) after learning of her affair with her boss.
The doctor’s wife didn’t say anything. She just watched him.
A grave is the best place to dispose of a body, the paperhanger said. […] A good settling rain and the fall leaves and you’re home free. Now that’s eternity for you.
Did you kill someone, she breathed. Her voice was barely audible.
Did I or did I not, he said. You decide. You have the powers of a god. You can make me a murderer or just a heartbroke guy whose wife quit him. What do you think? Anyway, I don’t have a wife. I expect she just walked off into the abstract […]
And in “Wittgenstein’s Lolita,” Rideout, whose wife cheated on him, and Rebekah, whose husband beats her, begin an affair. They tell each other their sad stories: "In time to come Rideout would decide that everything that happened grew out of the stories they told each other [...] Threads from one tale crept to another and bound them as inextricably as a particular sequencing of words binds teller to tale to listener." Rideout tells Rebekah that his wife and her lover were found dead in the woods. The lover’s wife later brought out a letter her husband had sent to her describing a murder-suicide pact the two lovers had planned, since the wife wouldn’t give him a divorce.
Or maybe, [Rebekah] said.
Or maybe what?
Maybe Ingraham did write the note and send it to her but then changed his mind. Wised up and wasn’t going to use it. Maybe she kept the note and did it herself.
Rideout shook his head […] I told you the story, he said.
You told me a story with too many possible endings, she said. She was smiling at him. Maybe it happened just the way you said. Or maybe she did it. Or maybe you wrote her the letter and killed them yourself.
Too many possible endings. Too many threads and tales. If I killed someone, what does it mean? What does it make me? If I am lying, what does it matter? What if you did it? Could you have done it? No one in Gay's stories really deserves to live, and yet some do; as for those whose lives have been brutally abbreviated, why, the reader wonders disturbingly, should we care? What do we really know, or believe, about the people with whom we are intimate? How do we decide what is true; or do we decide at all?
4.
Gay’s women shoot to kill, too; although I won’t get into that, because, well, it would spoil the stories, violate the secrets. Mostly the ladies of Lewis County are cold-hearted and restless, whores and heartbreakers; and a man can’t live without them. The paperhanger’s employer, the wife of a wealthy doctor,
flirted with him, backed away, flirted again. She would treat him as if he were a stain on the bathroom rug and then stand close by him while he worked until he was dizzy with the smell of her, with the heat that seemed to radiate off her body. She stood by him while he knelt painting baseboards and after an infinite moment leaned carefully the weight of a thigh against his shoulder […] He laughed and turned his face into her groin. She gave a strangled cry and slapped him hard […] You filthy beast, she said.
When making love to his cheating wife in “A Death in the Woods,”
Marvelously, his hand passed through [her naked breast] into nothing, past the brown nipple and the soft flesh and the almost imperceptible resistance of the rib cage and into a vast gulf of space where winds blew in perpetuity and the heart at its center was seized in bloody ice […] she was a ghost, less than that, like nothing at all.
It is not uncommon for Gay’s women characters to agree to have sex with their jilted, supplicating ex-husbands/boyfriends for money; in each case it is a crossroads, a test failed, a moment of reckoning. It is the moment when a man realizes he’s been looking for love in the wrong place.
Interestingly, the final story of I Hate to See That Evening Sun Go Down portrays a profoundly beautiful, albeit tragic and forbidden, love between a man and a woman. Here, the woman is given to us as courageous and fully human:
He thought for a moment her eyes looked frightened then he saw that more than fear they showed confusion. She looked stunned, as if life had blindsided her so hard it left her knees weak and the taste of blood in her mouth. He wanted to cure her, save her, jerk her back from the edge as she’d tried to do for him.
We note the hard turn in Gay’s depiction of a female character, and yet we are not jarred by it; his reverence for Woman and for love of Woman has been there all along, but buried deep and seen through the unlovely distortions, the darkened lens, of a romantic whose guts have bled nearly dry.
5.
The only divine laws in Gay’s Tennessee are those of the natural world, both harsh and merciful. A vast stretch of wild acreage called The Harrikin (the name originated from “hurricane” after a storm ripped through the place in the '30s) features prominently in the action and in the characters’ inner landscapes. Company-owned and once mined for iron ore at the turn of the century, by the '20s and '30s the iron ore dried up and the work with it. Shacks that served as living quarters for workers, mining machinery, a post office and a commissary, dangerous mine shafts—all of it was abandoned and never redeveloped or sold. “No one lived there, and there were miles of unbroken timber you couldn’t work your way through with a road map in one hand and a compass in the other” (from “Sugarbaby”). It’s a wilderness in every sense, a place to where characters flee when pursued, where fringe types have been forced to dwell provisionally; and it must be ventured and crossed en route to freedom, or at least the elusive idea of it. Finis Beasley, the old-timer in “Sugarbaby” who is fleeing the law because of a domestic dispute (guns, women, dogs), is someone who knows just what the Harrikin threatens and offers: “miles of uninhabited woods smothered in rain and darkness and he drew a small bitter comfort from it.”
And that bitter comfort sought by characters like Beasley—along with other old-timers who want nothing more than to hold on to what little they have and to die as they lived—is at the heart of Gay’s moral vision. In this hardscrabble world, the only sense of “right” that I can detect is rooted in dignity, the entitlement of independence after a long, hard life; what’s “wrong” in the world (the law, the government, and those who hold power therein) is how everything conspires against the stubbornness—Gay might say moral core, or staying power—of an imperfectly decent man. If ever there was an author that, say, a liberal politician representing urban America might like to read for an inside-out understanding of backwoods libertarianism, Gay just might be the one. The law isn’t working for these folks, it is primarily a tool of dispossession and greed; when faced with a choice—be stripped of what matters to you and keep what doesn’t, or else throw everything over—a man behaves in extreme ways.
6.
Critics of Gay cite his sometimes high Latinate prose, which we see mostly in passages where consciousness and the natural world layer together, as “overinsistent” and “self-conscious” (Charles D’Ambrosio, Paste Magazine). For example:
Here the weary telluric dark past and present intersected seamlessly and he saw how there was no true beginning or end and all things once done were done forever and went spreading outward faint and fainter and that the face of a young girl carried at once within it a bitter worn harridan and past that the satinpillowed death’s head of the grave.
Regarding plot he has been said to “overplay his hand” (Richard Bernstein, New York Times). Art Winslow wrote in 2001 that Gay shared Wolfe’s and McCarthy’s “propensity to risk overrichness.” For some readers, yes, all this overage will be a turnoff, minimalists beware (although D’Ambrosio does praise Gay’s more colloquial prose, which often comes in the form of “keen” and “bleakly funny” dialogue).
For this reader, ultimately, “risking overrichness” is code for “desperately in love with words,” and “overplaying” the expression of a world view that sees high drama and profound connectedness in all things. In Gay’s hands, these add up to a book as a living, affecting, devastating thing; well worth both his risk and ours. It took 40 years for his world and his words to reach the rest of us. Perhaps “late,” perhaps right on time. The patience that develops from such a journey is evident, however: at the Clarksville reading a woman said that she hoped his fourth novel, The Lost Country, publication of which has been delayed for over a year, would be published soon. Gay responded, simply, “Me, too.”
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