I: New and Selected Poems (Pitt Poetry Series)

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Most Anticipated: The Great Spring 2024 Preview

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April April 2 Women! In! Peril! by Jessie Ren Marshall [F] For starters, excellent title. This debut short story collection from playwright Marshall spans sex bots and space colonists, wives and divorcées, prodding at the many meanings of womanhood. Short story master Deesha Philyaw, also taken by the book's title, calls this one "incisive! Provocative! And utterly satisfying!" —Sophia M. Stewart The Audacity by Ryan Chapman [F] This sophomore effort, after the darkly sublime absurdity of Riots I have Known, trades in the prison industrial complex for the Silicon Valley scam. Chapman has a sharp eye and a sharper wit, and a book billed as a "bracing satire about the implosion of a Theranos-like company, a collapsing marriage, and a billionaires’ 'philanthropy summit'" promises some good, hard laughs—however bitter they may be—at the expense of the über-rich. —John H. Maher The Obscene Bird of Night by José Donoso, tr. Leonard Mades [F] I first learned about this book from an essay in this publication by Zachary Issenberg, who alternatively calls it Donoso's "masterpiece," "a perfect novel," and "the crowning achievement of the gothic horror genre." He recommends going into the book without knowing too much, but describes it as "a story assembled from the gossip of society’s highs and lows, which revolves and blurs into a series of interlinked nightmares in which people lose their memory, their sex, or even their literal organs." —SMS Globetrotting ed. Duncan Minshull [NF] I'm a big walker, so I won't be able to resist this assemblage of 50 writers—including Edith Wharton, Katharine Mansfield, Helen Garner, and D.H. Lawrence—recounting their various journeys by foot, edited by Minshull, the noted walker-writer-anthologist behind The Vintage Book of Walking (2000) and Where My Feet Fall (2022). —SMS All Things Are Too Small by Becca Rothfeld [NF] Hieronymus Bosch, eat your heart out! The debut book from Rothfeld, nonfiction book critic at the Washington Post, celebrates our appetite for excess in all its material, erotic, and gluttonous glory. Covering such disparate subjects from decluttering to David Cronenberg, Rothfeld looks at the dire cultural—and personal—consequences that come with adopting a minimalist sensibility and denying ourselves pleasure. —Daniella Fishman A Good Happy Girl by Marissa Higgins [F] Higgins, a regular contributor here at The Millions, debuts with a novel of a young woman who is drawn into an intense and all-consuming emotional and sexual relationship with a married lesbian couple. Halle Butler heaps on the praise for this one: “Sometimes I could not believe how easily this book moved from gross-out sadism into genuine sympathy. Totally surprising, totally compelling. I loved it.” —SMS City Limits by Megan Kimble [NF] As a Los Angeleno who is steadily working my way through The Power Broker, this in-depth investigation into the nation's freeways really calls to me. (Did you know Robert Moses couldn't drive?) Kimble channels Caro by locating the human drama behind freeways and failures of urban planning. —SMS We Loved It All by Lydia Millet [NF] Planet Earth is a pretty awesome place to be a human, with its beaches and mountains, sunsets and birdsong, creatures great and small. Millet, a creative director at the Center for Biological Diversity in Tucson, infuses her novels with climate grief and cautions against extinction, and in this nonfiction meditation, she makes a case for a more harmonious coexistence between our species and everybody else in the natural world. If a nostalgic note of “Auld Lang Syne” trembles in Millet’s title, her personal anecdotes and public examples call for meaningful environmental action from local to global levels. —Nathalie op de Beeck Like Love by Maggie Nelson [NF] The new book from Nelson, one of the most towering public intellectuals alive today, collects 20 years of her work—including essays, profiles, and reviews—that cover disparate subjects, from Prince and Kara Walker to motherhood and queerness. For my fellow Bluets heads, this will be essential reading. —SMS Traces of Enayat by Iman Mersal, tr. Robin Moger [NF] Mersal, one of the preeminent poets of the Arabic-speaking world, recovers the life, work, and legacy of the late Egyptian writer Enayat al-Zayyat in this biographical detective story. Mapping the psyche of al-Zayyat, who died by suicide in 1963, alongside her own, Mersal blends literary mystery and memoir to produce a wholly original portrait of two women writers. —SMS The Letters of Emily Dickinson ed. Cristanne Miller and Domhnall Mitchell [NF] The letters of Emily Dickinson, one of the greatest and most beguiling of American poets, are collected here for the first time in nearly 60 years. Her correspondence not only gives access to her inner life and social world, but reveal her to be quite the prose stylist. "In these letters," says Jericho Brown, "we see the life of a genius unfold." Essential reading for any Dickinson fan. —SMS April 9 Short War by Lily Meyer [F] The debut novel from Meyer, a critic and translator, reckons with the United States' political intervention in South America through the stories of two generations: a young couple who meet in 1970s Santiago, and their American-born child spending a semester Buenos Aires. Meyer is a sharp writer and thinker, and a great translator from the Spanish; I'm looking forward to her fiction debut. —SMS There's Going to Be Trouble by Jen Silverman [F] Silverman's third novel spins a tale of an American woman named Minnow who is drawn into a love affair with a radical French activist—a romance that, unbeknown to her, mirrors a relationship her own draft-dodging father had against the backdrop of the student movements of the 1960s. Teasing out the intersections of passion and politics, There's Going to Be Trouble is "juicy and spirited" and "crackling with excitement," per Jami Attenberg. —SMS Table for One by Yun Ko-eun, tr. Lizzie Buehler [F] I thoroughly enjoyed Yun Ko-eun's 2020 eco-thriller The Disaster Tourist, also translated by Buehler, so I'm excited for her new story collection, which promises her characteristic blend of mundanity and surrealism, all in the name of probing—and poking fun—at the isolation and inanity of modern urban life. —SMS Playboy by Constance Debré, tr. Holly James [NF] The prequel to the much-lauded Love Me Tender, and the first volume in Debré's autobiographical trilogy, Playboy's incisive vignettes explore the author's decision to abandon her marriage and career and pursue the precarious life of a writer, which she once told Chris Kraus was "a bit like Saint Augustine and his conversion." Virginie Despentes is a fan, so I'll be checking this out. —SMS Native Nations by Kathleen DuVal [NF] DuVal's sweeping history of Indigenous North America spans a millennium, beginning with the ancient cities that once covered the continent and ending with Native Americans' continued fight for sovereignty. A study of power, violence, and self-governance, Native Nations is an exciting contribution to a new canon of North American history from an Indigenous perspective, perfect for fans of Ned Blackhawk's The Rediscovery of America. —SMS Personal Score by Ellen van Neerven [NF] I’ve always been interested in books that drill down on a specific topic in such a way that we also learn something unexpected about the world around us. Australian writer Van Neerven's sports memoir is so much more than that, as they explore the relationship between sports and race, gender, and sexuality—as well as the paradox of playing a colonialist sport on Indigenous lands. Two Dollar Radio, which is renowned for its edgy list, is publishing this book, so I know it’s going to blow my mind. —Claire Kirch April 16 The Notebooks of Sonny Rollins by Sonny Rollins [NF] The musings, recollections, and drawings of jazz legend Sonny Rollins are collected in this compilation of his precious notebooks, which he began keeping in 1959, the start of what would become known as his “Bridge Years,” during which he would practice at all hours on the Williamsburg Bridge. Rollins chronicles everything from his daily routine to reflections on music theory and the philosophical underpinnings of his artistry. An indispensable look into the mind and interior life of one of the most celebrated jazz musicians of all time. —DF Henry Henry by Allen Bratton [F] Bratton’s ambitious debut reboots Shakespeare’s Henriad, landing Hal Lancaster, who’s in line to be the 17th Duke of Lancaster, in the alcohol-fueled queer party scene of 2014 London. Hal’s identity as a gay man complicates his aristocratic lineage, and his dalliances with over-the-hill actor Jack Falstaff and promising romance with one Harry Percy, who shares a name with history’s Hotspur, will have English majors keeping score. Don’t expect a rom-com, though. Hal’s fraught relationship with his sexually abusive father, and the fates of two previous gay men from the House of Lancaster, lend gravity to this Bard-inspired take. —NodB Bitter Water Opera by Nicolette Polek [F] Graywolf always publishes books that make me gasp in awe and this debut novel, by the author of the entrancing 2020 story collection Imaginary Museums, sounds like it’s going to keep me awake at night as well. It’s a tale about a young woman who’s lost her way and writes a letter to a long-dead ballet dancer—who then visits her, and sets off a string of strange occurrences. —CK Norma by Sarah Mintz [F] Mintz's debut novel follows the titular widow as she enjoys her newfound freedom by diving headfirst into her surrounds, both IRL and online. Justin Taylor says, "Three days ago I didn’t know Sarah Mintz existed; now I want to know where the hell she’s been all my reading life. (Canada, apparently.)" —SMS What Kingdom by Fine Gråbøl, tr. Martin Aitken [F] A woman in a psychiatric ward dreams of "furniture flickering to life," a "chair that greets you," a "bookshelf that can be thrown on like an apron." This sounds like the moving answer to the otherwise puzzling question, "What if the Kantian concept of ding an sich were a novel?" —JHM Weird Black Girls by Elwin Cotman [F] Cotman, the author of three prior collections of speculative short stories, mines the anxieties of Black life across these seven tales, each of them packed with pop culture references and supernatural conceits. Kelly Link calls Cotman's writing "a tonic to ward off drabness and despair." —SMS Presence by Tracy Cochran [NF] Last year marked my first earnest attempt at learning to live more mindfully in my day-to-day, so I was thrilled when this book serendipitously found its way into my hands. Cochran, a New York-based meditation teacher and Tibetan Buddhist practitioner of 50 years, delivers 20 psycho-biographical chapters on recognizing the importance of the present, no matter how mundane, frustrating, or fortuitous—because ultimately, she says, the present is all we have. —DF Committed by Suzanne Scanlon [NF] Scanlon's memoir uses her own experience of mental illness to explore the enduring trope of the "madwoman," mining the work of Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Audre Lorde, and others for insights into the long literary tradition of women in psychological distress. The blurbers for this one immediately caught my eye, among them Natasha Trethewey, Amina Cain, and Clancy Martin, who compares Scanlon's work here to that of Marguerite Duras. —SMS Unrooted by Erin Zimmerman [NF] This science memoir explores Zimmerman's journey to botany, a now endangered field. Interwoven with Zimmerman's experiences as a student and a mother is an impassioned argument for botany's continued relevance and importance against the backdrop of climate change—a perfect read for gardeners, plant lovers, or anyone with an affinity for the natural world. —SMS April 23 Reboot by Justin Taylor [F] Extremely online novels, as a rule, have become tiresome. But Taylor has long had a keen eye for subcultural quirks, so it's no surprise that PW's Alan Scherstuhl says that "reading it actually feels like tapping into the internet’s best celeb gossip, fiercest fandom outrages, and wildest conspiratorial rabbit holes." If that's not a recommendation for the Book Twitter–brained reader in you, what is? —JHM Divided Island by Daniela Tarazona, tr. Lizzie Davis and Kevin Gerry Dunn [F] A story of multiple personalities and grief in fragments would be an easy sell even without this nod from Álvaro Enrigue: "I don't think that there is now, in Mexico, a literary mind more original than Daniela Tarazona's." More original than Mario Bellatin, or Cristina Rivera Garza? This we've gotta see. —JHM Prairie, Dresses, Art, Other by Danielle Dutton [NF] Coffee House Press has for years relished its reputation for publishing “experimental” literature, and this collection of short stories and essays about literature and art and the strangeness of our world is right up there with the rest of Coffee House’s edgiest releases. Don’t be fooled by the simple cover art—Dutton’s work is always formally inventive, refreshingly ambitious, and totally brilliant. —CK I Just Keep Talking by Nell Irvin Painter [NF] I first encountered Nell Irvin Painter in graduate school, as I hung out with some Americanists who were her students. Painter was always a dazzling, larger-than-life figure, who just exuded power and brilliance. I am so excited to read this collection of her essays on history, literature, and politics, and how they all intersect. The fact that this collection contains Painter’s artwork is a big bonus. —CK April 30 Real Americans by Rachel Khong [F] The latest novel from Khong, the author of Goodbye, Vitamin, explores class dynamics and the illusory American Dream across generations. It starts out with a love affair between an impoverished Chinese American woman from an immigrant family and an East Coast elite from a wealthy family, before moving us along 21 years: 15-year-old Nick knows that his single mother is hiding something that has to do with his biological father and thus, his identity. C Pam Zhang deems this "a book of rare charm," and Andrew Sean Greer calls it "gorgeous, heartfelt, soaring, philosophical and deft." —CK The Swans of Harlem by Karen Valby [NF] Huge thanks to Bebe Neuwirth for putting this book on my radar (she calls it "fantastic") with additional gratitude to Margo Jefferson for sealing the deal (she calls it "riveting"). Valby's group biography of five Black ballerinas who forever transformed the art form at the height of the Civil Rights movement uncovers the rich and hidden history of Black ballet, spotlighting the trailblazers who paved the way for the Misty Copelands of the world. —SMS Appreciation Post by Tara Ward [NF] Art historian Ward writes toward an art history of Instagram in Appreciation Post, which posits that the app has profoundly shifted our long-established ways of interacting with images. Packed with cultural critique and close reading, the book synthesizes art history, gender studies, and media studies to illuminate the outsize role that images play in all of our lives. —SMS May May 7 Bad Seed by Gabriel Carle, tr. Heather Houde [F] Carle’s English-language debut contains echoes of Denis Johnson’s Jesus’s Son and Mariana Enriquez’s gritty short fiction. This story collection haunting but cheeky, grim but hopeful: a student with HIV tries to avoid temptation while working at a bathhouse; an inebriated friend group witnesses San Juan go up in literal flames; a sexually unfulfilled teen drowns out their impulses by binging TV shows. Puerto Rican writer Luis Negrón calls this “an extraordinary literary debut.” —Liv Albright The Lady Waiting by Magdalena Zyzak [F] Zyzak’s sophomore novel is a nail-biting delight. When Viva, a young Polish émigré, has a chance encounter with an enigmatic gallerist named Bobby, Viva’s life takes a cinematic turn. Turns out, Bobby and her husband have a hidden agenda—they plan to steal a Vermeer, with Viva as their accomplice. Further complicating things is the inevitable love triangle that develops among them. Victor LaValle calls this “a superb accomplishment," and Percival Everett says, "This novel pops—cosmopolitan, sexy, and funny." —LA América del Norte by Nicolás Medina Mora [F] Pitched as a novel that "blends the Latin American traditions of Roberto Bolaño and Fernanda Melchor with the autofiction of U.S. writers like Ben Lerner and Teju Cole," Mora's debut follows a young member of the Mexican elite as he wrestles with questions of race, politics, geography, and immigration. n+1 co-editor Marco Roth calls Mora "the voice of the NAFTA generation, and much more." —SMS How It Works Out by Myriam Lacroix [F] LaCroix's debut novel is the latest in a strong early slate of novels for the Overlook Press in 2024, and follows a lesbian couple as their relationship falls to pieces across a number of possible realities. The increasingly fascinating and troubling potentialities—B-list feminist celebrity, toxic employer-employee tryst, adopting a street urchin, cannibalism as relationship cure—form a compelling image of a complex relationship in multiversal hypotheticals. —JHM Cinema Love by Jiaming Tang [F] Ting's debut novel, which spans two continents and three timelines, follows two gay men in rural China—and, later, New York City's Chinatown—who frequent the Workers' Cinema, a movie theater where queer men cruise for love. Robert Jones, Jr. praises this one as "the unforgettable work of a patient master," and Jessamine Chan calls it "not just an extraordinary debut, but a future classic." —SMS First Love by Lilly Dancyger [NF] Dancyger's essay collection explores the platonic romances that bloom between female friends, giving those bonds the love-story treatment they deserve. Centering each essay around a formative female friendship, and drawing on everything from Anaïs Nin and Sylvia Plath to the "sad girls" of Tumblr, Dancyger probes the myriad meanings and iterations of friendship, love, and womanhood. —SMS See Loss See Also Love by Yukiko Tominaga [F] In this impassioned debut, we follow Kyoko, freshly widowed and left to raise her son alone. Through four vignettes, Kyoko must decide how to raise her multiracial son, whether to remarry or stay husbandless, and how to deal with life in the face of loss. Weike Wang describes this one as “imbued with a wealth of wisdom, exploring the languages of love and family.” —DF The Novices of Lerna by Ángel Bonomini, tr. Jordan Landsman [F] The Novices of Lerna is Landsman's translation debut, and what a way to start out: with a work by an Argentine writer in the tradition of Jorge Luis Borges and Adolfo Bioy Casares whose work has never been translated into English. Judging by the opening of this short story, also translated by Landsman, Bonomini's novel of a mysterious fellowship at a Swiss university populated by doppelgängers of the protagonist is unlikely to disappoint. —JHM Black Meme by Legacy Russell [NF] Russell, best known for her hit manifesto Glitch Feminism, maps Black visual culture in her latest. Black Meme traces the history of Black imagery from 1900 to the present, from the photograph of Emmett Till published in JET magazine to the footage of Rodney King's beating at the hands of the LAPD, which Russell calls the first viral video. Per Margo Jefferson, "You will be galvanized by Legacy Russell’s analytic brilliance and visceral eloquence." —SMS The Eighth Moon by Jennifer Kabat [NF] Kabat's debut memoir unearths the history of the small Catskills town to which she relocated in 2005. The site of a 19th-century rural populist uprising, and now home to a colorful cast of characters, the Appalachian community becomes a lens through which Kabat explores political, economic, and ecological issues, mining the archives and the work of such writers as Adrienne Rich and Elizabeth Hardwick along the way. —SMS Stories from the Center of the World ed. Jordan Elgrably [F] Many in America hold onto broad, centuries-old misunderstandings of Arab and Muslim life and politics that continue to harm, through both policy and rhetoric, a perpetually embattled and endangered region. With luck, these 25 tales by writers of Middle Eastern and North African origin might open hearts and minds alike. —JHM An Encyclopedia of Gardening for Colored Children by Jamaica Kincaid and Kara Walker [NF] Two of the most brilliant minds on the planet—writer Jamaica Kincaid and visual artist Kara Walker—have teamed up! On a book! About plants! A dream come true. Details on this slim volume are scant—see for yourself—but I'm counting down the minutes till I can read it all the same. —SMS Physics of Sorrow by Georgi Gospodinov, tr. Angela Rodel [F] I'll be honest: I would pick up this book—by the International Booker Prize–winning author of Time Shelter—for the title alone. But also, the book is billed as a deeply personal meditation on both Communist Bulgaria and Greek myth, so—yep, still picking this one up. —JHM May 14 This Strange Eventful History by Claire Messud [F] I read an ARC of this enthralling fictionalization of Messud’s family history—people wandering the world during much of the 20th century, moving from Algeria to France to North America— and it is quite the story, with a postscript that will smack you on the side of the head and make you re-think everything you just read. I can't recommend this enough. —CK Woodworm by Layla Martinez, tr. Sophie Hughes and Annie McDermott [F] Martinez’s debut novel takes cabin fever to the max in this story of a grandmother,  granddaughter, and their haunted house, set against the backdrop of the Spanish Civil War. As the story unfolds, so do the house’s secrets, the two women must learn to collaborate with the malevolent spirits living among them. Mariana Enriquez says that this "tense, chilling novel tells a story of specters, class war, violence, and loneliness, as naturally as if the witches had dictated this lucid, terrible nightmare to Martínez themselves.” —LA Self Esteem and the End of the World by Luke Healy [NF] Ah, writers writing about writing. A tale as old as time, and often timeworn to boot. But graphic novelists graphically noveling about graphic novels? (Verbing weirds language.) It still feels fresh to me! Enter Healy's tale of "two decades of tragicomic self-discovery" following a protagonist "two years post publication of his latest book" and "grappling with his identity as the world crumbles." —JHM All Fours by Miranda July [F] In excruciating, hilarious detail, All Fours voices the ethically dubious thoughts and deeds of an unnamed 45-year-old artist who’s worried about aging and her capacity for desire. After setting off on a two-week round-trip drive from Los Angeles to New York City, the narrator impulsively checks into a motel 30 miles from her home and only pretends to be traveling. Her flagrant lies, unapologetic indolence, and semi-consummated seduction of a rent-a-car employee set the stage for a liberatory inquisition of heteronorms and queerness. July taps into the perimenopause zeitgeist that animates Jen Beagin’s Big Swiss and Melissa Broder’s Death Valley. —NodB Love Junkie by Robert Plunket [F] When a picture-perfect suburban housewife's life is turned upside down, a chance brush with New York City's gay scene launches her into gainful, albeit unconventional, employment. Set at the dawn of the AIDs epidemic, Mimi Smithers, described as a "modern-day Madame Bovary," goes from planning parties in Westchester to selling used underwear with a Manhattan porn star. As beloved as it is controversial, Plunket's 1992 cult novel will get a much-deserved second life thanks to this reissue by New Directions. (Maybe this will finally galvanize Madonna, who once optioned the film rights, to finally make that movie.) —DF Tomorrowing by Terry Bisson [F] The newest volume in Duke University’s Practices series collects for the first time the late Terry Bisson’s Locus column "This Month in History," which ran for two decades. In it, the iconic "They’re Made Out of Meat" author weaves an alt-history of a world almost parallel to ours, featuring AI presidents, moon mountain hikes, a 196-year-old Walt Disney’s resurrection, and a space pooch on Mars. This one promises to be a pure spectacle of speculative fiction. —DF Chop Fry Watch Learn by Michelle T. King [NF] A large portion of the American populace still confuses Chinese American food with Chinese food. What a delight, then, to discover this culinary history of the worldwide dissemination of that great cuisine—which moonlights as a biography of Chinese cookbook and TV cooking program pioneer Fu Pei-mei. —JHM On the Couch ed. Andrew Blauner [NF] André Aciman, Susie Boyt, Siri Hustvedt, Rivka Galchen, and Colm Tóibín are among the 25 literary luminaries to contribute essays on Freud and his complicated legacy to this lively volume, edited by writer, editor, and literary agent Blauner. Taking tacts both personal and psychoanalytical, these essays paint a fresh, full picture of Freud's life, work, and indelible cultural impact. —SMS Another Word for Love by Carvell Wallace [NF] Wallace is one of the best journalists (and tweeters) working today, so I'm really looking forward to his debut memoir, which chronicles growing up Black and queer in America, and navigating the world through adulthood. One of the best writers working today, Kiese Laymon, calls Another Word for Love as “One of the most soulfully crafted memoirs I’ve ever read. I couldn’t figure out how Carvell Wallace blurred time, region, care, and sexuality into something so different from anything I’ve read before." —SMS The Devil's Best Trick by Randall Sullivan [NF] A cultural history interspersed with memoir and reportage, Sullivan's latest explores our ever-changing understandings of evil and the devil, from Egyptian gods and the Book of Job to the Salem witch trials and Black Mass ceremonies. Mining the work of everyone from Zoraster, Plato, and John Milton to Edgar Allen Poe, Aleister Crowley, and Charles Baudelaire, this sweeping book chronicles evil and the devil in their many forms. --SMS The Book Against Death by Elias Canetti, tr. Peter Filkins [NF] In this newly-translated collection, Nobel laureate Canetti, who once called himself death's "mortal enemy," muses on all that death inevitably touches—from the smallest ant to the Greek gods—and condemns death as a byproduct of war and despots' willingness to use death as a pathway to power. By means of this book's very publication, Canetti somewhat succeeds in staving off death himself, ensuring that his words live on forever. —DF Rise of a Killah by Ghostface Killah [NF] "Why is the sky blue? Why is water wet? Why did Judas rat to the Romans while Jesus slept?" Ghostface Killah has always asked the big questions. Here's another one: Who needs to read a blurb on a literary site to convince them to read Ghost's memoir? —JHM May 21 Exhibit by R.O. Kwon [F] It's been six years since Kwon's debut, The Incendiaries, hit shelves, and based on that book's flinty prose alone, her latest would be worth a read. But it's also a tale of awakening—of its protagonist's latent queerness, and of the "unquiet spirit of an ancestor," that the author herself calls so "shot through with physical longing, queer lust, and kink" that she hopes her parents will never read it. Tantalizing enough for you? —JHM Cecilia by K-Ming Chang [F] Chang, the author of Bestiary, Gods of Want, and Organ Meats, returns with this provocative and oft-surreal novella. While the story is about two childhood friends who became estranged after a bizarre sexual encounter but re-connect a decade later, it’s also an exploration of how the human body and its excretions can be both pleasurable and disgusting. —CK The Great State of West Florida by Kent Wascom [F] The Great State of West Florida is Wascom's latest gothicomic novel set on Florida's apocalyptic coast. A gritty, ominous book filled with doomed Floridians, the passages fly by with sentences that delight in propulsive excess. In the vein of Thomas McGuane's early novels or Brian De Palma's heyday, this stylized, savory, and witty novel wields pulp with care until it blooms into a new strain of American gothic. —Zachary Issenberg Cartoons by Kit Schluter [F] Bursting with Kafkaesque absurdism and a hearty dab of abstraction, Schluter’s Cartoons is an animated vignette of life's minutae. From the ravings of an existential microwave to a pencil that is afraid of paper, Schluter’s episodic outré oozes with animism and uncanniness. A grand addition to City Light’s repertoire, it will serve as a zany reminder of the lengths to which great fiction can stretch. —DF May 28 Lost Writings by Mina Loy, ed. Karla Kelsey [F] In the early 20th century, avant-garde author, visual artist, and gallerist Mina Loy (1882–1966) led an astonishing creative life amid European and American modernist circles; she satirized Futurists, participated in Surrealist performance art, and created paintings and assemblages in addition to writing about her experiences in male-dominated fields of artistic practice. Diligent feminist scholars and art historians have long insisted on her cultural significance, yet the first Loy retrospective wasn’t until 2023. Now Karla Kelsey, a poet and essayist, unveils two never-before-published, autobiographical midcentury manuscripts by Loy, The Child and the Parent and Islands in the Air, written from the 1930s to the 1950s. It's never a bad time to be re-rediscovered. —NodB I'm a Fool to Want You by Camila Sosa Villada, tr. Kit Maude [F] Villada, whose debut novel Bad Girls, also translated by Maude, captured the travesti experience in Argentina, returns with a short story collection that runs the genre gamut from gritty realism and social satire to science fiction and fantasy. The throughline is Villada's boundless imagination, whether she's conjuring the chaos of the Mexican Inquisition or a trans sex worker befriending a down-and-out Billie Holiday. Angie Cruz calls this "one of my favorite short-story collections of all time." —SMS The Editor by Sara B. Franklin [NF] Franklin's tenderly written and meticulously researched biography of Judith Jones—the legendary Knopf editor who worked with such authors as John Updike, Sylvia Plath, Elizabeth Bowen, Anne Tyler, and, perhaps most consequentially, Julia Child—was largely inspired by Franklin's own friendship with Jones in the final years of her life, and draws on a rich trove of interviews and archives. The Editor retrieves Jones from the margins of publishing history and affirms her essential role in shaping the postwar cultural landscape, from fiction to cooking and beyond. —SMS The Book-Makers by Adam Smyth [NF] A history of the book told through 18 microbiographies of particularly noteworthy historical personages who made them? If that's not enough to convince you, consider this: the small press is represented here by Nancy Cunard, the punchy and enormously influential founder of Hours Press who romanced both Aldous Huxley and Ezra Pound, knew Hemingway and Joyce and Langston Hughes and William Carlos Williams, and has her own MI5 file. Also, the subject of the binding chapter is named "William Wildgoose." —JHM June June 4 The Future Was Color by Patrick Nathan [F] A gay Hungarian immigrant writing crappy monster movies in the McCarthy-era Hollywood studio system gets swept up by a famous actress and brought to her estate in Malibu to write what he really cares about—and realizes he can never escape his traumatic past. Sunset Boulevard is shaking. —JHM A Cage Went in Search of a Bird [F] This collection brings together a who's who of literary writers—10 of them, to be precise— to write Kafka fanfiction, from Joshua Cohen to Yiyun Li. Then it throws in weirdo screenwriting dynamo Charlie Kaufman, for good measure. A boon for Kafkaheads everywhere. —JHM We Refuse by Kellie Carter Jackson [NF] Jackson, a historian and professor at Wellesley College, explores the past and present of Black resistance to white supremacy, from work stoppages to armed revolt. Paying special attention to acts of resistance by Black women, Jackson attempts to correct the historical record while plotting a path forward. Jelani Cobb describes this "insurgent history" as "unsparing, erudite, and incisive." —SMS Holding It Together by Jessica Calarco [NF] Sociologist Calarco's latest considers how, in lieu of social safety nets, the U.S. has long relied on women's labor, particularly as caregivers, to hold society together. Calarco argues that while other affluent nations cover the costs of care work and direct significant resources toward welfare programs, American women continue to bear the brunt of the unpaid domestic labor that keeps the nation afloat. Anne Helen Petersen calls this "a punch in the gut and a call to action." —SMS Miss May Does Not Exist by Carrie Courogen [NF] A biography of Elaine May—what more is there to say? I cannot wait to read this chronicle of May's life, work, and genius by one of my favorite writers and tweeters. Claire Dederer calls this "the biography Elaine May deserves"—which is to say, as brilliant as she was. —SMS Fire Exit by Morgan Talty [F] Talty, whose gritty story collection Night of the Living Rez was garlanded with awards, weighs the concept of blood quantum—a measure that federally recognized tribes often use to determine Indigenous membership—in his debut novel. Although Talty is a citizen of the Penobscot Indian Nation, his narrator is on the outside looking in, a working-class white man named Charles who grew up on Maine’s Penobscot Reservation with a Native stepfather and friends. Now Charles, across the river from the reservation and separated from his biological daughter, who lives there, ponders his exclusion in a novel that stokes controversy around the terms of belonging. —NodB June 11 The Material by Camille Bordas [F] My high school English teacher, a somewhat dowdy but slyly comical religious brother, had a saying about teaching high school students: "They don't remember the material, but they remember the shtick." Leave it to a well-named novel about stand-up comedy (by the French author of How to Behave in a Crowd) to make you remember both. --SMS Ask Me Again by Clare Sestanovich [F] Sestanovich follows up her debut story collection, Objects of Desire, with a novel exploring a complicated friendship over the years. While Eva and Jamie are seemingly opposites—she's a reserved South Brooklynite, while he's a brash Upper Manhattanite—they bond over their innate curiosity. Their paths ultimately diverge when Eva settles into a conventional career as Jamie channels his rebelliousness into politics. Ask Me Again speaks to anyone who has ever wondered whether going against the grain is in itself a matter of privilege. Jenny Offill calls this "a beautifully observed and deeply philosophical novel, which surprises and delights at every turn." —LA Disordered Attention by Claire Bishop [NF] Across four essays, art historian and critic Bishop diagnoses how digital technology and the attention economy have changed the way we look at art and performance today, identifying trends across the last three decades. A perfect read for fans of Anna Kornbluh's Immediacy, or the Style of Too Late Capitalism (also from Verso). War by Louis-Ferdinand Céline, tr. Charlotte Mandell [F] For years, literary scholars mourned the lost manuscripts of Céline, the acclaimed and reviled French author whose work was stolen from his Paris apartment after he fled to Germany in 1944, fearing punishment for his collaboration with the Nazis. But, with the recent discovery of those fabled manuscripts, War is now seeing the light of day thanks to New Directions (for anglophone readers, at least—the French have enjoyed this one since 2022 courtesy of Gallimard). Adam Gopnik writes of War, "A more intense realization of the horrors of the Great War has never been written." —DF The Uptown Local by Cory Leadbeater [NF] In his debut memoir, Leadbeater revisits the decade he spent working as Joan Didion's personal assistant. While he enjoyed the benefits of working with Didion—her friendship and mentorship, the more glamorous appointments on her social calendar—he was also struggling with depression, addiction, and profound loss. Leadbeater chronicles it all in what Chloé Cooper Jones calls "a beautiful catalog of twin yearnings: to be seen and to disappear; to belong everywhere and nowhere; to go forth and to return home, and—above all else—to love and to be loved." —SMS Out of the Sierra by Victoria Blanco [NF] Blanco weaves storytelling with old-fashioned investigative journalism to spotlight the endurance of Mexico's Rarámuri people, one of the largest Indigenous tribes in North America, in the face of environmental disasters, poverty, and the attempts to erase their language and culture. This is an important book for our times, dealing with pressing issues such as colonialism, migration, climate change, and the broken justice system. —CK Any Person Is the Only Self by Elisa Gabbert [NF] Gabbert is one of my favorite living writers, whether she's deconstructing a poem or tweeting about Seinfeld. Her essays are what I love most, and her newest collection—following 2020's The Unreality of Memory—sees Gabbert in rare form: witty and insightful, clear-eyed and candid. I adored these essays, and I hope (the inevitable success of) this book might augur something an essay-collection renaissance. (Seriously! Publishers! Where are the essay collections!) —SMS Tehrangeles by Porochista Khakpour [F] Khakpour's wit has always been keen, and it's hard to imagine a writer better positioned to take the concept of Shahs of Sunset and make it literary. "Like Little Women on an ayahuasca trip," says Kevin Kwan, "Tehrangeles is delightfully twisted and heartfelt."  —JHM Traveling: On the Path of Joni Mitchell by Ann Powers [NF] The moment I saw this book's title—which comes from the opening (and, as it happens, my favorite) track on Mitchell's 1971 masterpiece Blue—I knew it would be one of my favorite reads of the year. Powers, one of the very best music critics we've got, masterfully guides readers through Mitchell's life and work at a fascinating slant, her approach both sweeping and intimate as she occupies the dual roles of biographer and fan. —SMS All Desire Is a Desire for Being by René Girard, ed. Cynthia L. Haven [NF] I'll be honest—the title alone stirs something primal in me. In honor of Girard's centennial, Penguin Classics is releasing a smartly curated collection of his most poignant—and timely—essays, touching on everything from violence to religion to the nature of desire. Comprising essays selected by the scholar and literary critic Cynthia L. Haven, who is also the author of the first-ever biographical study of Girard, Evolution of Desire, this book is "essential reading for Girard devotees and a perfect entrée for newcomers," per Maria Stepanova. —DF June 18 Craft by Ananda Lima [F] Can you imagine a situation in which interconnected stories about a writer who sleeps with the devil at a Halloween party and can't shake him over the following decades wouldn't compel? Also, in one of the stories, New York City’s Penn Station is an analogue for hell, which is both funny and accurate. —JHM Parade by Rachel Cusk [F] Rachel Cusk has a new novel, her first in three years—the anticipation is self-explanatory. —SMS Little Rot by Akwaeke Emezi [F] Multimedia polymath and gender-norm disrupter Emezi, who just dropped an Afropop EP under the name Akwaeke, examines taboo and trauma in their creative work. This literary thriller opens with an upscale sex party and escalating violence, and although pre-pub descriptions leave much to the imagination (promising “the elite underbelly of a Nigerian city” and “a tangled web of sex and lies and corruption”), Emezi can be counted upon for an ambience of dread and a feverish momentum. —NodB When the Clock Broke by John Ganz [NF] I was having a conversation with multiple brilliant, thoughtful friends the other day, and none of them remembered the year during which the Battle of Waterloo took place. Which is to say that, as a rule, we should all learn our history better. So it behooves us now to listen to John Ganz when he tells us that all the wackadoodle fascist right-wing nonsense we can't seem to shake from our political system has been kicking around since at least the early 1990s. —JHM Night Flyer by Tiya Miles [NF] Miles is one of our greatest living historians and a beautiful writer to boot, as evidenced by her National Book Award–winning book All That She Carried. Her latest is a reckoning with the life and legend of Harriet Tubman, which Miles herself describes as an "impressionistic biography." As in all her work, Miles fleshes out the complexity, humanity, and social and emotional world of her subject. Tubman biographer Catherine Clinton says Miles "continues to captivate readers with her luminous prose, her riveting attention to detail, and her continuing genius to bring the past to life." —SMS God Bless You, Otis Spunkmeyer by Joseph Earl Thomas [F] Thomas's debut novel comes just two years after a powerful memoir of growing up Black, gay, nerdy, and in poverty in 1990s Philadelphia. Here, he returns to themes and settings that in that book, Sink, proved devastating, and throws post-service military trauma into the mix. —JHM June 25 The Garden Against Time by Olivia Laing [NF] I've been a fan of Laing's since The Lonely City, a formative read for a much-younger me (and I'd suspect for many Millions readers), so I'm looking forward to her latest, an inquiry into paradise refracted through the experience of restoring an 18th-century garden at her home the English countryside. As always, her life becomes a springboard for exploring big, thorny ideas (no pun intended)—in this case, the possibilities of gardens and what it means to make paradise on earth. —SMS Cue the Sun! by Emily Nussbaum [NF] Emily Nussbaum is pretty much the reason I started writing. Her 2019 collection of television criticism, I Like to Watch, was something of a Bible for college-aged me (and, in fact, was the first book I ever reviewed), and I've been anxiously awaiting her next book ever since. It's finally arrived, in the form of an utterly devourable cultural history of reality TV. Samantha Irby says, "Only Emily Nussbaum could get me to read, and love, a book about reality TV rather than just watching it," and David Grann remarks, "It’s rare for a book to feel alive, but this one does." —SMS Woman of Interest by Tracy O'Neill [NF] O’Neill's first work of nonfiction—an intimate memoir written with the narrative propulsion of a detective novel—finds her on the hunt for her biological mother, who she worries might be dying somewhere in South Korea. As she uncovers the truth about her enigmatic mother with the help of a private investigator, her journey increasingly becomes one of self-discovery. Chloé Cooper Jones writes that Woman of Interest “solidifies her status as one of our greatest living prose stylists.” —LA Dancing on My Own by Simon Wu [NF] New Yorkers reading this list may have witnessed Wu's artful curation at the Brooklyn Museum, or the Whitney, or the Museum of Modern Art. It makes one wonder how much he curated the order of these excellent, wide-ranging essays, which meld art criticism, personal narrative, and travel writing—and count Cathy Park Hong and Claudia Rankine as fans. —JHM [millions_email]

A Year in Reading: Paul Lisicky

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The uncategorizable, the mongrel, the hybrid, the impure: I don’t consciously say I’m looking for any of those traits when I pick up a book, but I get excited by any piece of art that makes itself up on its own terms, that says no in its quiet (or loud) way to the call of obedience and conformity. I think all of the books on my list say no, as if that no were an affirmation, and I’m sure that’s why I’ll keep going back to them not just in the present, but 10 years from now.  While many contemporary novels restrict themselves to a tight focus, Elizabeth McCracken’s Bowlaway gives itself permission to sprawl. Its characters come and go, live and die, lace together in startling, unexpected ways. Its sentences ring with insight and dark charm. Entire paragraphs feel like song, even those spotlighting a minor character—see the page featuring the woman who adopts wild animals and takes them into her bed. The thing is, there are no minor characters in McCracken’s work, and that notion is central to her vision: Everyone has a face, a body, a longing. I can’t think of a book that’s as queer, even if its queerness isn’t out front and center. Who would we be if we allowed ourselves to see that our closest ties aren’t blood ties but chosen? How would history change if we de-centered procreation as the measure of time and interconnectedness? The novel enacts those questions with increasing urgency and takes us to a place where the character we’ve known the longest doesn’t simply stop, but re-invents himself once more. Speaking of things queer, some of the freshest books of 2019 have come from queer writers. I’m thinking of Ocean Vuong’s On Earth We’re Briefly Gorgeous, T Kira Madden’s Long Live the Tribe of Fatherless Girls, Carmen Maria Machado’s In the Dream House. Sentence by sentence, these books are alert and alive, written with exacting description and a musical ear. Most importantly, they take queerness into their structure. They refuse chronology as the only way to tell an immersive story. Instead, these are stories of moving minds, minds at work, as they try to shuck off the old narratives that want to shoehorn us into sameness and oblivion. For that, and more, I love these books the way I would love a person. Finally? Poets. We must not ever forget the poets, those beautiful monsters. Source of all things good, at least when it comes to the word. Jericho Brown’s The Tradition, C.D. Wright’s Casting Deep Shade, Ilya Kaminsky’s Deaf Republic, Morgan Parker’s Magical Negro, Brenda Shaughnessy’s The Octopus Museum, Toi Derricotte’s I, Dorianne Laux’s Only as the Day Is Long, Carmen Gimenez Smith’s Be Recorder.

National Book Awards Names 2019 Finalists

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The National Book Foundation announced the National Book Award finalists today. Each category—fiction, nonfiction, poetry, young people's literature, and translated literature—has been narrowed down from the longlist 10 to the shortlist five. While many of the finalists have made the NBA shortlist before, none of them have won of a National Book Award in these categories. Here’s a list of the finalists in all five categories, with bonus links where available: Fiction: Trust Exercise by Susan Choi (Read our 2019 interview with Choi) Sabrina & Corinas by Kali Fajardo-Anstine (Featured in our Great First-Half 2019 Book Preview) Black Leopard, Red Wolf by Marlon James (Read a profile of James) The Other Americans by Laila Lalami (Read Lalami's 2018 Year in Reading entry) Disappearing Earth by Julia Phillips (Featured in our Great First-Half 2019 Book Preview) Nonfiction: The Yellow House by Sarah M. Broom (Featured in our Great Second-Half 2019 Book Preview) Thick by Tressie McMillan Cottom (Featured in our Great First-Half 2019 Book Preview) What You Have Heard Is True: A Memoir of Witness and Resistance by Carolyn Forché The Heartbeat of Wounded Knee: Native America from 1890 to the Present by David Treuer Solitary by Albert Woodfox with Leslie George Poetry: The Tradition by Jericho Brown (Read an excerpt from Brown's collection) "I": New and Selected Poems by Toi Derricotte (Read our 2019 interview with Derricotte) Deaf Republic by Ilya Kaminsky (Featured in March's Must-Read Poetry roundup) Be Recorder by Carmen Giménez Smith (Read an excerpt from Smith's collection) Sight Lines by Arthur Sze Translated Literature Death Is Hard Work by Khaled Khalifa, translated by Leri Price Baron Wenckheim’s Homecoming by László Krasznahorkai, translated by Ottilie Mulzet (Read our review) The Barefoot Woman by Scholastique Mukasonga, translated by Jordan Stump The Memory Police by Yoko Ogawa, translated by Stephen Snyder (Featured in our Great Second-Half 2019 Book Preview) Crossing by Pajtim Statovci, translated by David Hackston Young People's Literature: Pet by Akwaeke Emezi (Featured in our Great Second-Half 2019 Book Preview) Look Both Ways: A Tale Told in Ten Blocks by Jason Reynolds Patron Saints of Nothing by Randy Ribay Thirteen Doorways, Wolves Behind Them All by Laura Ruby 1919: The Year That Changed America by Martin W. Sandler The awards will be revealed in New York City on November 20. [millions_ad]

It’s Our Time: Cave Canem’s Founder on the Power of Poetry

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In her five books of poetry, Toi Derricotte has joined a generation of writers who have picked up the mantle of the confessional poet, seeking to blend personal experience with larger questions around race, gender, sex and identity. There is a specificity and an unflinching candor that runs through Derricotte’s work, incisive and unsparing toward everything and everyone—especially herself. This could seem cruel, but it’s tempered by what I called, in our conversation, a spiritual quality—she uses her poems to understand herself and to be understood by others, viewing self-knowledge and communication as vital, life-affirming acts. Derricotte has received many award—including the PEN/Voelcker Award for Poetry in 2012 and three Pushcart Prizes—and is a Professor Emerita at the University of Pittsburgh. Derricotte is also the co-founder of Cave Canem, which has become one of the nation’s great literary organizations, receiving the Literian Award for Outstanding Service to the American Literary Community in 2016 by the National Book Award Foundation. Derricotte’s new book is “I”: New and Selected Poems. We spoke recently about her work, career, and being hopeful at this moment. The Millions: What was it like to assemble a new and selected volume of your poetry? Because this is your chance to define yourself and your work. Toi Derricotte: My editor suggested I do a new and collected. When I started putting the book together I realized that it was an opportunity to think about all of my work as one long project. I have always thought of every book as its own project. How many writers get to look at 50 years of their writing in one book? I think that’s rare and I feel really good about it. TM: You open the book with a quotation from Czeslaw Milosz: “The purpose of poetry is to remind us / how difficult it is to remain just one person.” I keep thinking about how much of your work has this almost spiritual element, interrogating your own life because you are seeking to understand and be understood and through that to find connection with others. TD: I didn’t used to call my writing process “spiritual.” I don’t know what I called it. I thought of it as purely artistic. I knew that in my life I didn’t want to do harm to others the way I had experienced harm in my childhood. I wanted to find ways to be myself and to express myself without harming people. Putting difficult feelings into poems seemed a perfect way to do that. My mother was not happy about a lot of my work because I said things about my childhood that she considered to be untrue. She actually had a totally different memory of my childhood than I did. She didn’t believe she or my father had done physical or psychological damage to me, so in that way my writing opposed her belief and did harm to her. It’s difficult to sort out your truth from others’ truths, especially if your truth is not a truth that makes the ones you love comfortable. I grew up with a violent father and I had to be silent about my feelings. I had to figure out how to have power and how to express that power—and even figure out what power is, a different power than the one used against me as a child. As a black woman, there are so many layers to figure out—not only who you are and how you can be yourself in a racist world, but what is a self that is your own and not a response to someone else’s idea. It’s been a long journey. Now I think that journey has been about connecting to a deeper power, which is, I guess, what I would call a spiritual power. TM: As you were talking about violence—I’m not religious though I was raised in the church—I was reminded of a quotation about hell being the absence of God. TD: It’s funny you should say that because early on, that’s the way I was taught to believe in hell. In Catholic school we were taught that hell is a place in which you are out of communication with God forever, isolated from God. The most terrifying idea for me is to be someplace where I can’t be in touch with what I feel is the most beautiful and powerful part of myself, which is the way I think of God. Maybe that’s what depression felt like for me, being out of touch with the most beloved part of myself. Now I don’t think of God as something out there that I pray to. I think of God as working through me, and as a part of all of us. So yes, that belief is deeply at the root of my need to express myself and to be connected to others. [millions_ad] TM: I remember your poem “Speculations about ‘I’” when it was published a few years ago. Why did you decide to call the book I? TD: My son came up with the name. I was going to call it Speculations about I and he said, mom, that’s boring, you should just call it I. Recently I have been thinking about how all of our life we’re in communication with our teachers—and we’re still learning from them, and arguing with them, too. In the book, I mentioned some of my teachers—Ruth Stone, Audre Lorde, Lucille Clifton, and Galway Kinnell—but one of my teachers was M.L. Rosenthal. When I was in his graduate class at NYU in the late ’70s, we never read a woman writer in his class on Modern American Poetry. I remember questioning him, “Why aren’t we reading any women writers?” He said, condescendingly, one day, “We’re going to read Sylvia Plath because Toi has brought this up as something we must do.” Then he gave this brilliant talk about Plath’s work. He was the one who coined the term “confessional” about the work of Sylvia Plath, Lowell, and Sexton. He was a great critic at the time and when he used the word “confessional,” he meant it pejoratively. I think autobiographical writing has always had that tinge of, “Oh it’s just people talking about their feelings.” The poem “Speculations about ‘I’” was written 40 years later. In a way it is an argument with M.L. Rosenthal, but really it’s my defense of myself to myself because all along I was my own worst critic. TM: What’s the earliest poem in the book? TD: Probably “the mirror poems.” Those poems happened at the same time I started writing The Black Notebooks. I was in a suicidal depression, the worst one of my life, after my husband, son, and I had moved into an all-white area 10 miles from New York City, Upper Montclair, N.J.. We were the first black family. Three months after we moved in I remember just sitting at the dining room table scribbling on a piece of paper. Just recently I found that piece of paper. I had scribbled, “The Black Notebooks,” which was the beginning of the book I didn’t finish until almost 30 years later. “The mirror poems” happened just as I was coming out of that depression. They’re such strange poems. They’re not autobiographical. In some ways I think they mirror the voice in “Speculations about ‘I.’” They kind of bookend each other. In both poems there is an external voice, as if it’s not the person, but a voice from somewhere else, a kind of mirror voice that is speaking about the person writing. TM: The Black Notebooks is a truly great portrait of depression and the way you wrote about your illness and self-loathing really resonated with me and has stuck with me over the years. TD: I’ve heard that from a lot of people. But of course I hope it’s much more than a book about depression. I meant it to interrogate aspects of the self through the lens of race. In my interactions with people, because of my light skin, I’m not recognized as black, so there is a lot of emphasis in that book on the dangers and internal conflicts around visibility and invisibility. How do you come out of silence, which is so terrifying, and make a real connection unless you face the thing that makes you most fearful? For me, it was rejection, by isolation and alienation from my “family,” from my deepest roots, from other black people. As a matter of fact, when that book was published I got a phone call from a man at the Black Caucus of the American Library Association who told me that The Black Notebooks had just won the award for the book of the year. I said, “No, it didn’t.” [Laughs.] He said, “Yes, it did.” I said, “No, it didn’t.” I had prepared myself for the worst thing I could imagine: to be hated by the people that I most wanted to be accepted by, to be hated for having conflicted feelings about being visible as a black person. It was a great gift. I realize now that it was a message from the universe that I was on the right track: that being vulnerable, telling the truth about myself was helpful to others. TM: There are many reasons why I can’t imagine what it was like to be at NYU back then, but you also came up at a time when Plath and Lowell had done important work, but they were also dismissed, and they had difficult lives. It feels like it was harder to have a model about how to write and live. TD: Every writer has to speak for the time. The important work that Lowell and Plath were doing was breaking open some things that were stuck. Certainly ideas about what it was to be a woman. Plath didn’t have a community in which she was accepted and understood. I think that was a big problem. Lowell was stuck in this weird aristocracy, but he was also mentally ill. They were doing very important work as poets and I identified with that work. I too wanted to write about parts of my experience that were damaging. When I was looking for a community for support, for other writers I could identify with, I found myself among feminist and lesbian women writers, Adrienne Rich and Audre Lorde, where I felt safe to explore aspects of my life that weren’t “pretty.” In some ways I think I was afraid that some of the poets I admired in the Black Arts Movement would feel that my poems betrayed blackness, because I talked about internal doubt and problems. Over the years, I have not found that to be the case. I have been loved and supported by many writers who were major poets within the Black Arts Movement. My advice to a new writer is go where you need to go to get the support you need to write. You have to find the cracks where you can get a little juice and live on that. TM: I was thinking about that, in part, because one of your newer poems is “As my writing changes I think with sorrow of those who couldn’t change.” TD: That’s so true. That’s what can happen, I think, with success, you’re appreciated for a certain kind of work and you get stuck; you’re afraid to change. It’s scary to change.  That could happen to me. I don’t know. Success is hard for a writer. TM: Has how you write changed over time? TD: It’s certainly easier for me now. Every book is formally very different. I’ve always had to find a formal way to handle the new material I needed to write about. Bringing content and form together has meant that every book looks different—and I can see that in the new and collected—because the content is always different. I had to find ways to formally express that difference, though I always felt at war with form. I saw form as an expression of the dangerous aesthetics that had demeaned and excluded black poets.  I had to find ways to both contain the poem and, at the same time, explode form. I think it was good because it produced the tension that holds the poems together; but I don’t feel that same tension in my writing now. I feel like the work just flows from a place that feels more me, me in a bigger way. I don’t know. I just feel more in the center and in control right now. [millions_email] TM: I wanted to close by asking about Cave Canem, whose motto is “a home for black poetry.” I feel like almost every African-American poet I know or have interviewed has some relationship to Cave Canem. I interviewed Kwame Dawes a few years ago and he said something that I feel like you can relate to, “We are not inventing a community. What we are doing, though, is adding to the community’s ability to communicate.” TD: Yes, it’s all of these places where energy is being connected. Cave Canem starts each year with the opening circle. All 50 or so fellows, faculty, and staff sit around in a circle on opening night and talk. There are so many things that happen at Cave Canem, and not because Cornelius Eady and I sat down and thought, we want this. I’m not saying we didn’t have a plan or we didn’t work for it, but a lot of things happened just as a result of us figuring things out in the moment. Like, the first night of Cave Canem, I’m not sure why we moved the chairs into a circle. I remember the room being set up in a traditional way with all the chairs facing the front. I’d been working in the Poets-in-the-School program for 20 years and I always had the teachers arrange the chairs in a circle and I knew the advantage of this. It’s not that it was an accident that the chairs were set up in a circle at Cave Canem, but the way that happened is like so many things that are central to why Cave Canem works. The idea of a circle is that there’s no real leader and everybody’s an equal part of the way we’re all connected. I think it’s an expression of something bigger too. This is a hard thing to talk about, but I visited a lot of white homes when I was a child. I could visit white homes because I think the white parents didn’t know I was black, and so I had a few white playmates that I’d leave Conant Gardens to go and visit. Both blacks and white weren’t supposed to cross the dividing line. Our parents said that cars would hit us if we crossed Ryan Road, which was a busy street, but I think we all knew that the real reason was the dividing line between whites and blacks. However, the black people in my neighborhood didn’t stop me and I was curious. This was in the days when kids just went out and played. They weren’t watched that much. I’d go to the visit white friends, but I never wanted to be white. There was something that I did not feel was happening over there that was happening in my neighborhood, and among my own people. It’s true it was terrible in my home, much sadness, anger, and depression, but there was also vitality and joy and love. I have no idea where it comes from or why it’s there, but I think it’s a way of connecting. I think the power of Cave Canem is in the ways of connecting that are becoming more and more available now. It’s like coming home and finding all of the people we were separated from in the Diaspora. It’s like heaven. TM: I think it’s impossible to talk about 21st-century American poetry without talking about the people who have been a part of Cave Canem: Tracy K. Smith and Terrance Hayes and Patricia Smith and Major Jackson and Elizabeth Alexander and Claudia Rankine and Natasha Trethewey and Yusef Komunyakaa and others. TD: That is really, really true. Of course Cornelius and I did not have this in mind when Cave Canem began. TM: So, you did not intend to transform American literature? I’m making a note of that for the record. TD: [Laughs.] We were hoping to make it from one day to the next! But I do remember when we started saying things like, “That guy will be getting the Pulitzer Prize.” We started thinking this way probably six or seven years into it. But we knew it was a powerful thing on the very first night. It was beyond anything we could have imagined. From the first night, we knew how powerful it was. You and I talked about spirituality. Some people don’t want to use this word but I really see Cave Canem as evidence of something at work beyond us. We had a closing circle at our first retreat and I remember this huge gold moon shining over us. I really felt it was the universe saying, “This is your time.” It’s our time. It’s something to do with change—with changing literature and maybe changing the way we see our country, and even the world. Tracy K. Smith organized an event at Princeton a couple months ago, a coming together of African-American poets and scholars, and it was wonderful. People were saying, “Is it possible to think that poetry can change the world? Can poetry make change happen?” People are starting to ask this. Not saying that poetry makes nothing happen, as the line in Auden’s poem suggests, but that poetry can make something big happen. This is a fragile, scary, but actual thought being spoken.