Ideas of Heaven: A Ring of Stories

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Most Anticipated: The Great Summer 2024 Preview

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Summer has arrived, and with it, a glut of great books. Here you'll find more than 80 books that we're excited about this season. Some we've already read in galley form; others we're simply eager to devour based on their authors, subjects, or blurbs. We hope you find your next summer read among them. —Sophia Stewart, editor July Art Monster by Marin Kosut [NF] Kosut's latest holds a mirror to New York City's oft-romanticized, rapidly gentrifying art scene and ponders the eternal struggles between creativity and capitalism, love and labor, and authenticity and commodification. Part cultural analysis, part cautionary tale, this account of an all-consuming subculture—now unrecognizable to the artists who first established it—is the perfect companion to Bianca Bosker's Get the Picture. —Daniella Fishman Concerning the Future of Souls by Joy Williams [F] If you're reading this, you don't need to be told why you need to check out the next 99 strange, crystalline chunks of brilliance—described enticingly as "stories of Azrael"—from the great Joy Williams, do you? —John H. Maher Misrecognition by Madison Newbound [F] Newbound's debut novel, billed as being in the vein of Rachel Cusk and Patricia Lockwood, chronicles an aimless, brokenhearted woman's search for meaning in the infinite scroll of the internet. Vladimir author Julia May Jonas describes it as "a shockingly modern" novel that captures "isolation and longing in our age of screens." —Sophia M. Stewart Pink Slime by Fernanda Trías, tr. Heather Cleary [F] The Uruguayan author makes her U.S. debut with an elegiac work of eco-fiction centering on an unnamed woman in the near future as she navigates a city ravaged by plague, natural disaster, and corporate power (hardly an imaginative leap). —SMS The Last Sane Woman by Hannah Regel [F] In Regel's debut novel, the listless Nicola is working in an archive devoted to women's art when she discovers—and grows obsessed with—a beguiling dozen-year correspondence between two women, going back to 1976. Paul author Daisy LaFarge calls this debut novel "caustic, elegant, elusive, and foreboding." —SMS Reinventing Love by Mona Chollet, tr. Susan Emanuel [NF] For the past year or so I've been on a bit of a kick reading books that I'd hoped might demystify—and offer an alternative vision of—the sociocultural institution that is heterosexuality. (Jane Ward's The Tragedy of Heterosexuality was a particularly enlightening read on that subject.) So I'm eager to dive into Chollet's latest, which explores the impossibility of an equitable heterosexuality under patriarchy. —SMS The Body Alone by Nina Lohman [NF] Blending memoir with scholarship, philosophy with medicine, and literature with science, Lohman explores the articulation of chronic pain in what Thin Places author Jordan Kisner calls "a stubborn, tender record of the unrecordable." —SMS Long Island Compromise by Taffy Brodesser-Akner [F] In this particular instance, "Long Island Compromise" refers to the long-anticipated follow-up to Fleishman Is In Trouble, not the technical term for getting on the Babylon line of the LIRR with a bunch of Bud-addled Mets fans after 1 a.m. —JHM The Long Run by Stacey D'Erasmo [NF] Plenty of artists burn brightly for a short (or viral) spell but can't sustain creative momentum. Others manage to keep creating over decades, weathering career ups and downs, remaining committed to their visions, and adapting to new media. Novelist Stacey D’Erasmo wanted to know how they do it, so she talked with eight artists, including author Samuel R. Delany and poet and visual artist Cecelia Vicuña, to learn the secrets to their longevity. —Claire Kirch Devil's Contract by Ed Simon [NF] Millions contributor Ed Simon probes the history of the Faustian bargain, from ancient times to modern day. Devil's Contract is, like all of Simon's writing, refreshingly rigorous, intellectually ambitious, and suffused with boundless curiosity. —SMS Paul Celan and the Trans-Tibetan Angel by Yoko Tawada, tr. Susan Bernofsky [F] Tawada returns with this surrealist ode to the poet Paul Celan and human connection. Set in a hazy, post-lockdown Berlin, Tawada's trademark dream-like prose follows the story of Patrik, an agoraphobe rediscovering his zeal for life through an unlikely friendship built on a shared love of art. —DF The Anthropologists by Ayşegül Savaş [F] Savaş’s third novel is looking like her best yet. It's a lean, lithe, lyrical tale of two graduate students in love look for a home away from home, or “trying to make a life together when you have nothing that grounds you,” as the author herself puts it. —JHM The Coin by Yasmin Zaher [F] Zaher's debut novel, about a young Palestinian woman unraveling in New York City, is an essential, thrilling addition to the Women on the Verge subgenre. Don't just take it from me: the blurbs for this one are some of the most rhapsodic I've ever seen, and the book's ardent fans include Katie Kitamura, Hilary Leichter, and, yes, Slavoj Žižek, who calls it "a masterpiece." —SMS Black Intellectuals and Black Society by Martin L. Kilson [NF] In this posthumous essay collection, the late political scientist Martin L. Kilson reflects on the last century's foremost Black intellectuals, from W.E.B Dubois to Ishmael Reed. Henry Louis Gates Jr. writes that Kilson "brilliantly explores the pivotal yet often obscured legacy of giants of the twentieth-century African American intelligentsia." —SMS Toward Eternity by Anton Hur [F] Hur, best known as the translator of such Korean authors as Bora Chung and Kyung-Sook Shin (not to mention BTS), makes his fiction debut with a speculative novel about the intersections of art, medicine, and technology. The Liberators author E.J. Koh writes that Hur delivers "a sprawling, crystalline, and deftly crafted vision of a yet unimaginable future." —SMS Loving Sylvia Plath by Emily Van Duyne [NF] I've always felt some connection to Sylvia Plath, and am excited to get my hands on Van Duyne’s debut, a reconstruction of the poet’s final years and legacy, which the author describes as "a reckoning with the broken past and the messy present" that takes into account both Plath’s "white privilege and [the] misogynistic violence" to which she was subjected. —CK Bright Objects by Ruby Todd [F] Nearing the arrival of a newly discovered comet, Sylvia Knight, still reeling from her husband's unsolved murder, finds herself drawn to the dark and mysterious corners of her seemingly quiet town. But as the comet draws closer, Sylvia becomes torn between reality and mysticism. This one is for astrology and true crime girlies. —DF The Lucky Ones by Zara Chowdhary [NF] The debut memoir by Chowdhary, a survivor of one of the worst massacres in Indian history, weaves together histories both personal and political to paint a harrowing portrait of anti-Muslim violence in her home country of India. Alexander Chee calls this "a warning, thrown to the world," and Nicole Chung describes it as "an astonishing feat of storytelling." —SMS Banal Nightmare by Halle Butler [F] Butler grapples with approaching middle age in the modern era in her latest, which follows thirty-something Moddie Yance as she ditches city life and ends her longterm relationship to move back to her Midwestern hometown. Banal Nightmare has "the force of an episode of marijuana psychosis and the extreme detail of a hyperrealistic work of art," per Jia Tolentino. —SMS A Passionate Mind in Relentless Pursuit by Noliwe Rooks [NF] In this slim volume on the life and legacy of the trailblazing civil rights leader Mary McLeod Bethune—the first Black woman to head a federal agency, to serve as a college president, and to be honored with a monument in the nation's capital—Rooks meditates on Bethune's place in Black political history, as well as in Rooks's own imagination. —SMS Modern Fairies by Clare Pollard [F] An unconventional work of historical fiction to say the least, this tale of the voluble, voracious royal court of Louis XIV of France makes for an often sidesplitting, and always bawdy, read. —JHM The Quiet Damage by Jesselyn Cook [NF] Cook, a journalist, reports on deepfake media, antivax opinions, and sex-trafficking conspiracies that undermine legitimate criminal investigations. Having previously written on children trying to deradicalize their QAnon-believing parents and social media influencers who blend banal content with frightening Q views, here Cook focuses on five families whose members went down QAnon rabbit holes, tragically eroding relationships and verifiable truths. —Nathalie Op de Beeck In the Shadow of the Fall by Tobi Ogundiran [F] Inspired by West African folkore, Ogundiran (author of the superb short speculative fiction collection Jackal, Jackal) centers this fantasy novella, the first of duology, on a sort-of anti-chosen one: a young acolyte aspiring to priesthood, but unable to get the orishas to speak. So she endeavors to trap one of the spirits, but in the process gets embroiled in a cosmic war—just the kind of grand, anything-can-happen premise that makes Ogundiran’s stories so powerful. —Alan Scherstuhl The Bluestockings by Susannah Gibson [NF] This group biography of the Bluestockings, a group of protofeminist women intellectuals who established salons in 18th-century England, reminded me of Regan Penaluna's wonderful How to Think Like a Woman in all the best ways—scholarly but accessible, vividly rendered, and a font of inspiration for the modern woman thinker. —SMS Liars by Sarah Manguso [F] Manguso's latest is a standout addition to the ever-expanding canon of novels about the plight of the woman artist, and the artist-mother in particular, for whom creative life and domestic life are perpetually at odds. It's also a more scathing indictment of marriage than any of the recent divorce memoirs to hit shelves. Any fan of Manguso will love this novel—her best yet—and anyone who is not already a fan will be by the time they're done. —SMS On Strike Against God by Joanna Russ [F] Flashbacks to grad school gender studies coursework, and the thrilling sensation that another world is yet possible, will wash over a certain kind of reader upon learning that Feminist Press will republish Russ’s 1980 novel. Edited and with an introduction by Cornell University Ph.D. candidate Alec Pollak, this critical edition includes reminiscences on Russ by her longtime friend Samuel R. Delany, letters between Russ and poet Marilyn Hacker, and alternative endings to its lesbian coming-out story. —NodB Only Big Bumbum Matters Tomorrow by Damilare Kuku [F] The debut novel by Kuku, the author of the story collection Nearly All the Men in Lagos Are Mad, centers on a Nigerian family plunged into chaos when young Temi, a recent college grad, decides to get a Brazillian butt lift. Wahala author Nikki May writes that Kuku captures "how complicated it is to be a Nigerian woman." —SMS The Missing Thread by Daisy Dunn [NF] A book about the girls, by the girls, for the girls. Dunn, a classicist, reconfigures antiquity to emphasize the influence and agency of women. From the apocryphal stories of Cleopatra and Agrippina to the lesser-known tales of Atossa and Olympias, Dunn retraces the steps of these ancient heroines and recovers countless important but oft-forgotten female figures from the margins of history. —DF August Villa E by Jane Alison [F] Alison's taut novel of gender and power is inspired by the real-life collision of Irish designer Eileen Gray and Swiss architect Le Corbusier—and the sordid act of vandalism by the latter that forever defined the legacy of the former. —SMS The Princess of 72nd Street by Elaine Kraf [F] Kraf's 1979 feminist cult classic, reissued as part of Modern Library's excellent Torchbearer series with an introduction by Melissa Broder, follows a young woman artist in New York City who experiences wondrous episodes of dissociation. Ripe author Sarah Rose Etter calls Kraf "one of literature's hidden gems." —SMS All That Glitters by Orlando Whitfield [NF] Whitfield traces the rise and fall of Inigo Philbrick, the charasmatic but troubled art dealer—and Whitfield's one-time friend—who was recently convicted of committing more than $86 million in fraud. The great Patrick Radden Keefe describes this as "an art world Great Gatsby." —SMS The Bookshop by Evan Friss [NF] Oh, so you support your local bookshop? Recount the entire history of bookselling. Friss's rigorously researched ode to bookstores underscores their role as guardians, gatekeepers, and proprietors of history, politics, and culture throughout American history. A must-read for any bibliophile, and an especially timely one in light of the growing number of attempts at literary censorship across the country. —DF Mystery Lights by Lena Valencia [F] Valencia's debut short story collection is giving supernatural Southwestern Americana.  Subjects as distinct as social media influencers, ghost hunters, and slasher writers populate these stories which, per Kelly Link, contain a "deep well of human complexity, perversity, sincerity, and hope." —DF Mourning a Breast by Xi Xi, tr. Jennifer Feeley This 1989 semi-autobiographical novel is an account of the late Hong Kong author and poet Xi's mastectomy and subsequent recovery, heralded as one of the first Chinese-language books to write frankly about illness, and breast cancer in particular.—SMS Village Voices by Odile Hellier [NF] Hellier celebrates the history and legacy of the legendary Village Voice Bookshop in Paris, which he founded in 1982. A hub of anglophone literary culture for 30 years, Village Voice hosted everyone from Raymond Carver to Toni Morrison and is fondly remembered in these pages, which mine decades of archives. —SMS Dinosaurs at the Dinner Party by Edward Dolnick [NF] Within the past couple of years, three tweens found the fossilized remains of a juvenile Tyrannosaurus rex in North Dakota and an 11-year-old beachcomber came upon an ichthyosaur jaw in southwestern England, sparking scientific excitement. Dolnick’s book revisits similar discoveries from Darwin’s own century, when astonished amateurs couldn’t yet draw upon centuries of paleontology and drew their own conclusions about the fossils and footprints they unearthed. —NodB All the Rage by Virginia Nicholson [NF] Social historian Nicholson chronicles the history of beauty standards for women from 1860 to 1960, revealing the fickleness of fashion, the evergreen pressure put on women's self-presentation, and the toll the latter takes on women's bodies. —SMS A Termination by Honor Moore [NF] In her latest memoir, Moore—best known for 2008's The Bishop's Daughter—reflects on the abortion she had in 1969 at the age of 23 and its aftermath. The Vivian Gornick calls this one "a masterly account of what it meant, in the 1960s, to be a woman of spirit and intelligence plunged into the particular hell that is unwanted pregnancy." —SMS Nat Turner, Black Prophet by Anthony E. Kaye with Gregory P. Downs [NF] Kaye and Downs's remarkable account of Nat Turner's rebellion boldly and persuasively argues for a reinterpretation of the uprising's causes, legacy, and divine influence, framing Turner not just as a preacher but a prophet. A paradigm-shifting work of narrative history. —SMS An Honest Woman by Charlotte Shane [NF] As a long-time reader, fan, and newsletter subscriber of Shane's, I nearly dropped to my knees at the altar of Simon & Schuster when her latest book was announced. This slim memoir intertwines her experience as a sex worker with reflections on various formative relationships in her life (with her sexuality, her father, and her long-time client, Roger), as well as reflections on the very nature of sex, gender, and labor. —DF Mina's Matchbox by Yoko Ogawa, tr. Stephen B. Snyder [F] Mina's Matchbox is an incredible novel that affirms Ogawa's position as the great writer of fantastical literature today. This novel is much brighter in tone and detail than much of her other, often brutal and gloomy, work, but somehow the tension and terror of living is always at the periphery. Ogawa has produced a world near and tender, but tough and bittersweet, like recognizing a lost loved one in the story told by someone new. —Zachary Issenberg Jimi Hendrix Live in Lviv by Andrey Kurkov, tr. Reuben Woolley [F] The Grey Bees author's latest, longlisted for last year's International Booker Prize, is an ode to Lviv, western Ukraine's cultural capital, now transformed by war. A snapshot of the city as it was in the early aughts, the novel chronicles the antics of a cast of eccentrics across the city, with a dash of magical realism thrown in for good measure. —SMS The Hypocrite by Jo Hamya [F] I loved Hamya's 2021 debut novel Three Rooms, and her latest, a sharp critique of art and gender that centers on a young woman who pens a satirical play about her sort-of-canceled novelist father, promises to be just as satisfying. —SMS A Complicated Passion by Carrie Rickey [NF] This definitive biography of trailblazing French New Wave filmmaker Agnès Varda tells the engrossing story of a brilliant artist and fierce feminist who made movies and found success on her own terms. Film critic and essayist Phillip Lopate writes, "One could not ask for a smarter or more engaging take on the subject." —SMS The Italy Letters by Vi Khi Nao [F] This epistolary novel by Nao, an emerging queer Vietnamese American writer who Garielle Lutz once called "an unstoppable genius," sounds like an incredible read: an unnamed narrator in Las Vegas writes sensual stream-of-consciousness letters to their lover in Italy. Perfect leisure reading on a sultry summer’s afternoon while sipping a glass of prosecco. —CK Survival Is a Promise by Alexis Pauline Gumbs [NF] Gumbs's poetic, genre-bending biography of Audre Lorde offers a fresh, profound look at Lorde's life, work, and importance undergirded by an ecological, spiritual, and distinctly Black feminist sensibility. Eloquent Rage author Brittany Cooper calls Gumbs "a kindred keeper of [Lorde’s] lesbian-warrior-poet legacy." —SMS Planes Flying Over a Monster by Daniel Saldaña París, tr. Christina MacSweeney and Philip K. Zimmerman [NF] Over 10 essays, the Mexican writer Daniel Saldaña Paris explores the cities he has lived in over the course of his life, using each as a springboard to ponder questions of authenticity, art, and narrative. Chloé Cooper Jones calls Saldaña Paris "simply one of our best living writers" and this collection "destined for canonical status." —SMS The Unicorn Woman by Gayl Jones [F] The latest novel from Jones, the Pulitzer finalist and mentee of Toni Morrison who first stunned the literary world with her 1975 novel Corregida, follows a Black soldier who returns home to the Jim Crow South after fighting in World War II. Imani Perry has called Jones "one of the most versatile and transformative writers of the 20th century." —SMS Becoming Little Shell by Chris La Tray [NF] When La Tray was growing up in western Montana, his family didn’t acknowledge his Indigenous heritage. He became curious about his Métis roots when he met Indigenous relatives at his grandfather’s funeral, and he searched in earnest after his father’s death two decades later. Now Montana’s poet laureate, La Tray has written a memoir about becoming an enrolled member of the Chippewa Little Shell Tribe, known as “landless Indians” because of their history of forced relocation. —NodB Wife to Mr. Milton by Robert Graves (reissue) [F] Grave's 1943 novel, reissued by the great Seven Stories Press, is based on the true story of the poet John Milton's tumultuous marriage to the much younger Mary Powell, which played out amid the backdrop of the English Civil War. E.M. Forster once called this one "a thumping good read." —SMS Euphoria Days by Pilar Fraile, tr. Lizzie Davis [F] Fraile's first novel to be translated into English follows the lives of five workers approaching middle age and searching for meaning—turning to algorithms, internet porn, drugs, and gurus along the way—in a slightly off-kilter Madrid of the near future. —SMS September Colored Television by Danzy Senna [F] Senna's latest novel follows Jane, a writer living in L.A. and weighing the competing allures of ambition versus stability and making art versus selling out. The perfect read for fans of Lexi Freiman's Book of Ayn, Colored Television is, per Miranda July, "addictive, hilarious, and relatable" and "a very modern reckoning with the ambiguities triangulated by race, class, creativity and love."—SMS We're Alone by Edwidge Danticat [NF] I’ve long been a big fan of Danticat, and I'm looking forward to reading this essay collection, which ranges from personal narratives to reflections on the state of the world to tributes to her various mentors and literary influences, including James Baldwin and Toni Morrison. That the great Graywolf Press published this book is an added bonus. —CK In Our Likeness by Bryan VanDyke [F] Millions contributor Bryan VanDyke's eerily timely debut novel, set at a tech startup where an algorithm built to detect lies on the internet is in the works, probes both the wonders and horrors of AI. This is a Frankenstein-esque tale befitting the information (or, perhaps, post-information) age and wrought in VanDyke's typically sparkling prose. —SMS Liontaming in America by Elizabeth Willis [NF] Willis, a poet and professor at the Iowa Writers’ Workshop, plumbed personal and national history for last year’s Spectral Evidence: The Witch Book, and does so again with this allusive hybrid work. This ambitious project promises a mind-bending engagement with polyamory and family, Mormonism and utopianism, prey exercising power over predators, and the shape-shifting American dream. —NodB Creation Lake by Rachel Kushner [F] I adore Kushner’s wildly offbeat tales, and I also enjoy books and movies in which people really are not who they claim to be and deception is coming from all sides. This novel about an American woman who infiltrates a rural commune of French radicals and everyone has their private agenda sounds like the perfect page-turner. —CK Under the Eye of the Big Bird by Hiromi Kawakami, tr. Asa Yoneda [F] Kawakami, of Strange Weather in Tokyo and People in My Neighborhood fame, returns with a work of speculative fiction comprising 14 interconnected stories spanning eons. This book imagines an Earth where humans teeter on the brink of extinction—and counts the great Banana Yoshimoto as a fan. —SMS Homeland by Richard Beck [NF] Beck, an editor at n+1, examines the legacy of the war on terror, which spanned two decades following 9/11, and its irrevocable impact on every facet of American life, from consumer habits to the very notion of citizenship. —SMS Herscht 07769 by László Krasznahorkai, tr. Ottilie Muzlet [F] Every novel by Krasznahorkai is immediately recognizable, while also becoming a modulation on that style only he could pull off. Herscht 07769 may be set in the contemporary world—a sort-of fable about the fascism fermenting in East Germany—but the velocity of the prose keeps it ruthilarious and dreamlike. That's what makes Krasznahorkai a master: the world has never sounded so unreal by an author, but all the anxieities of his characters, his readers, suddenly gain clarity, as if he simply turned on the light. —ZI Madwoman by Chelsea Bieker [F] Catapult published Bieker’s 2020 debut, Godshot, about a teenager fleeing a religious cult in drought-stricken California, and her 2023 Heartbroke, a collection of stories that explored gender, threat, and mother-and-child relationships. Now, Bieker moves over to Little, Brown with this contemporary thriller, a novel in which an Oregon mom gets a letter from a women’s prison that reignites violent memories of a past she thought she’d left behind. —NodB The World She Edited by Amy Reading [NF] Some people like to curl up with a cozy mystery, while for others, the ultimate cozy involves midcentury literary Manhattan. Amy Reading—whose bona fides include service on the executive board of cooperative indie bookstore Buffalo Street Books in Ithaca, N.Y.—profiles New Yorker editor Katharine S. White, who came on board at the magazine in 1925 and spent 36 years editing the likes of Elizabeth Bishop, Janet Flanner, and Mary McCarthy. Put the kettle on—or better yet, pour a classic gin martini—in preparation for this one, which underscores the many women authors White championed. —NodB If Only by Vigdis Hjorth, tr. Charlotte Barslund [F] Hjorth, the Norwegian novelist behind 2022's Is Mother Dead, painstakingly chronicles a 30-year-old married woman's all-consuming and volatile romance with a married man, which blurs the lines between passion and love. Sheila Heti calls Hjorth "one of my favorite contemporary writers." —SMS Fierce Desires by Rebecca L. Davis [NF] Davis's sprawling account of sex and sexuality over the course of American history traverses the various behaviors, beliefs, debates, identities, and subcultures that have shaped the way we understand connection, desire, gender, and power. Comprehensive, rigorous, and unafraid to challenge readers, this history illuminates the present with brutal and startling clarity.  —SMS The Burning Plain by Juan Rulfo, tr. Douglas Weatherford [F] Rulfo's Pedro Páramo is considered by many to be one of the greatest novels ever written, so it's no surprise that his 1953 story collection The Burning Plain—which depicts life in the aftermath of the Mexican Revolution and Cristero Revolt—is widely seen as Mexico's most significant (and, objectively, most translated) work of short fiction. —SMS My Lesbian Novel and TOAF by Renee Gladman [F/NF] The perpetually pitch perfect Dorothy, a Publishing Project is putting out two books by Renee Gladman, one of its finest regular authors, on the same day: a nigh uncategorizable novel about an artist and writer with her same name and oeuvre who discusses the process of writing a lesbian romance and a genre-smashing meditation on an abandoned writing project. What's not to love? —JHM Dear Dickhead by Virginie Despentes, tr. Frank Wynne [F] I'm a big fan of Despentes's caustic, vigorous voice: King Kong Theory was one of my favorite reads of last year. (I was late, I know!) So I can't wait to dig into her latest novel—purported to be taking France by storm—which nods to #MeToo in its depiction of an unlikely friendship that brings up questions of sex, fame, and gendered power. —SMS Capital by Karl Marx, tr. Paul Reitter [NF] In a world that burns more quickly by the day—after centuries of industrial rapacity, and with ever-increasing flares of fascism—a new English translation of Marx, and the first to be based on his final revision of this foundational critique of capitalism, is just what the people ordered. —JHM Fathers and Fugitives by S.J. Naudé, tr. Michiel Heyns [F] Naudé, who writes in Afrikaans, has translated his previous books himself—until now. The first to be translated by Heyns, a brilliant writer himself and a friend of Naudé's, this novel follows a queer journalist living in London who travels home to South Africa to care for his dying father, only to learn of a perplexing clause in his will. —SMS Men of Maize by Miguel Ángel Asturias, tr. Gerald Martin [F] This Penguin Classics reissue of the Nobel Prize–winning Guatemalan writer's epic novel, just in time for its 75th anniversary, throws into stark relief the continued timeliness of its themes: capitalist exploitation, environmental devastation, and the plight of Indigenous peoples. Héctor Tobar, who wrote the forward, calls this "Asturias’s Mayan masterpiece, his Indigenous Ulysses." —SMS Good Night, Sleep Tight by Brian Evenson [F] It is practically impossible to do, after cracking open any collection of stories by the horror master Evenson, what the title of this latest collection asks of its readers. This book is already haunting you even before you've opened it. —JHM Reservoir Bitches by Dahlia de la Cerda, tr. Julia Sanches and Heather Cleary [F] De la Cerda's darkly humorous debut story collection follows 13 resilient, rebellious women navigating life in contemporary Mexico. Dogs of Summer author Andrea Abreu writes, "This book has the force of an ocean gully: it sucks you in, drags you through the mud, and then cleanses you." —SMS Lost: Back to the Island by Emily St. James and Noel Murray [NF] For years, Emily St. James was one of my favorite TV critics, and I'm so excited to see her go long on that most polarizing of shows (which she wrote brilliantly about for AV Club way back when) in tandem with Noel Murray, another great critic. The Lost resurgence—and much-deserved critical reevaluation—is imminent. —SMS Scaffolding by Lauren Elkin [F] Who could tire of tales of Parisian affairs and despairs? This one, from critic and Art Monsters author Elkin, tells the story of 40 years, four lives, two couples, one apartment, and that singularly terrible, beautiful thing we call love. —JHM Bringer of Dust by J.M. Miro [F] The bold first entry in Miro’s sweeping Victorian-era fantasy was a novel to revel in. Ordinary Monsters combined cowboys, the undead, a Scottish magic school, action better than most blockbuster movies can manage, and refreshingly sharp prose astonishingly well as its batch of cast of desperate kids confused by their strange powers fought to make sense of the world around them—despite being stalked, and possibly manipulated, by sinister forces. That book’s climax upended all expectations, making Bringer of Dust something rare: a second volume in a fantasy where readers have no idea where things are heading. —AS Frighten the Horses by Oliver Radclyffe [NF] The latest book from Roxane Gay's eponymous imprint is Radclyffe's memoir of coming out as a trans man in his forties, rethinking his supposedly idyllic life with his husband and four children. Fans of the book include Sabrina Imbler, Sarah Schulman, and Edmund White, who praises Radclyffe as "a major writer." —SMS Everything to Play For by Marijam Did [NF] A video game industry insider, Did considers the politics of gaming in this critical overview—and asks how games, after decades of reshaping our private lives and popular culture, can help pave the way for a better world. —SMS Rejection by Tony Tulathimutte [F] Tulathimutte's linked story collection plunges into the touchy topics of sex, relationships, identity, and the internet. Vauhini Vara, in describing the book, evokes both Nabokov and Roth, as well as "the worst (by which I mean best) Am I the Asshole post you’ve ever read on Reddit." —SMS Elizabeth Catlett by Ed. Dalila Scruggs [NF] This art book, which will accompany a retrospective at the Brooklyn Museum organized by Scruggs, spotlight the work and legacy of the pioneering printmaker, sculptor, and activist Elizabeth Catlett (1915-2012), who centered the experiences of Black and Mexican women in all that she did and aspired "to put art to the service of the people." —SMS The Repeat Room by Jesse Ball [F] I often credit Jesse Ball's surrealist masterpiece A Cure for Suicide with reviving my love of reading, and his latest got me out of my reading slump once again. Much like ACFS, The Repeat Room is set in a totalitarian dystopia that slowly reveals itself. The story follows Abel, a lowly garbageman chosen to sit on a jury where advanced technology is used to forcibly enter the memories of "the accused." This novel forces tough moral questions on readers, and will make you wonder what it means to be a good person—and, ultimately, if it even matters. —DF Defectors by Paola Ramos [NF] Ramos, an Emmy Award–winning journalist, examines how Latino voters—often treated as a monolith—are increasingly gravitating to the far right, and what this shift means America's political future. Rachel Maddow calls Defectors "a deeply reported, surprisingly personal exploration of a phenomenon that is little understood in our politics." —SMS Monet by Jackie Wullshläger [NF] Already available in the U.K., this biography reveals a more tempestuous Claude Monet than the serene Water Lilies of his later years suggest. Wullschläger, the chief art critic of the Financial Times, mines the archives for youthful letters and secrets about Monet’s unsung lovers and famous friends of the Belle Époque. —NodB Brooklynites by Prithi Kanakamedala [NF] Kanakamedala celebrates the Black Brooklynites who shaped New York City's second-largest borough in the 19th century, leaving a powerful legacy of social justice organizing in their wake. Centering on four Black families, this work of narrative history carefully and passionately traces Brooklyn's activist lineage. —SMS No Ship Sets Out to Be a Shipwreck by Joan Wickersham [NF] In this slim nonfiction/poetry hybrid, Wickersham (author of National Book Award finalist The Suicide Index) meditates on a Swedish warship named Vasa, so freighted with cannons and fancy carvings in honor of the king that it sank only minutes after leaving the dock in 1682, taking 30 lives with it. After Wickersham saw the salvaged Vasa on display in Stockholm, she crafted her book around this monument to nation and hubris. —NodB Health and Safety by Emily Witt [NF] I loved Witt's sharply observed Future Sex and can't wait for her latest, a memoir about drugs, raves, and New York City nightlife which charts the New Yorker staff writer's immersion into the city's dance music underground on the cusp of the pandemic—and the double life she began to lead as a result. —SMS [millions_email]

A Year in Reading: Sonya Chung

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This year was a year of catch-up reading: I found myself busy with books that I really should have read years ago. But without a doubt, when it comes to adventures in gorgeous and transformative literature, better (much better) late than never. Top of my list is Fools by Joan Silber. Silber’s first novel, Household Words, won the PEN/Hemingway in 1980, but I—many of us younger writers, I think—didn’t come to know her work until Ideas of Heaven, her fifth book and a finalist for the 2004 National Book Award. The “ring of stories” form rocked my world back then, and Silber’s ability to inhabit first-person narrators of such widely diverging identities, time periods, and voices was a revelation. With Fools, that same form, now sometimes referred to as a “story cycle,” is intricately crafted, and the stories are arguably even more satisfyingly, thematically linked (When is it wise—or not—to be a fool for something?). For me though, what caused a Silber-reading marathon (Household Words, The Size of the World, Improvement, Lucky Us) is the wisdom embedded in each story, each character’s journey: These are stories about—simply put—the deep and wide messiness of a life’s arc. People are complicated, and life happens to us and at us more than we ever hope/imagine when we set out as young people. There are no cheap seats in life, and even so, it’s all meaningful, and it matters, and those are the echoes I most want vibrating in me when I put down a book. Two short novels that seem to me under-read specifically because they were ahead of their time: Ed Lin’s Waylaid and James Baldwin’s If Beale Street Could Talk. In the department of literature by and about people of color, the challenges and pitfalls are too often framed in terms of the either/or versus both/and conundrum: Is the book primarily “about race/racial identity” or about human beings living whole human lives inside their skin in a specific American setting? Both these novels so clearly do not concern themselves with this artificial question. Beale Street, published in 1974, is a love story: Tish and Fonny are a young woman and man whose circumstances and racial identities make it extremely difficult for them to live happily ever after, and the journey toward that possibility is entangling and profound, much larger than just the two of them. Waylaid (2002) takes place in the ’80s and features a 12-year-old Chinese-American, male protagonist who lives in and manages his parents’ seedy motel on the Jersey Shore: His first and ostensible problem is that he desperately needs to get laid, but really he’s figuring out how—as a big-for-his-age, smart, horny kid and the only Asian-American kid around—he’s going to grow into a manhood that is his own and find hope in humanity while surrounded by sad, lonely adults (his immigrant parents included). Both Waylaid and Beale Street render powerfully this truth: For people of color, racism is everyone else’s problem; we are just trying to live the fully human lives we are entitled to. The freedom to write character-driven stories that engage racial experience as essential but not essentializing may seem basic to us now, but as an Asian American writer-friend said to me recently about Waylaid: “No one was writing Asian Americans like that back then.” And the same could be said about Baldwin/Beale Street in the ’70s. (Note: I’m mad excited about Barry Jenkins’ film adaptation, but I also encourage all to read the book first if you can!) [millions_ad] I’ll close with two poetry collections—The Wilderness by Sandra Lim and There Are More Beautiful Things Than Beyoncé by Morgan Parker. I tend to read poetry in a more sensory than cerebral way and am not very good at writing “about” poems or poetry collections. So I’ll just say that both these are provocatively and aptly titled and hope you’ll be thus compelled to immerse mind and senses in the work of these fierce, gifted poets. More from A Year in Reading 2018 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don’t miss: A Year in Reading 2017201620152014201320122011201020092008200720062005

The Great Divide: Writing Across Gender

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1. The writing of good fiction requires, among many elusive talents, empathy and imagination.  Put another way, the fiction writer must be like a trained actor, inhabiting the minds, emotions, and bodies of people whose essential makeup and experiences are quite different from his own.  Write what you know has its limits, and many of us write to discover what we know, or to experience something of what we don’t know.  Not to mention the fact that those empathic and imaginative muscles can get flabby; when we stretch them and work them, we stretch and work our whole intelligence. Lately my reading life has delivered up some interesting examples of empathic leaps; specifically, of writers who dare to leap the imaginative chasm of gender.  Are they successful?  How does one measure? 2. Annie Proulx comes to mind immediately.  More often than not, her main characters are male.  And not just that, her fictional worlds – like the brutal Wyoming plains in her collection Close Range – are distinctly male worlds, where words are few and primal energies prevail.  The Wyoming stories are gritty and violent; their central dramatic features include castration, rape, attic-torture, drunkenness, rodeo gore, murder by tire iron. The one “female” story – that is, where the narrator is a woman – ends in a shootout (another woman character shooting her philandering boyfriend and -- possibly, we're not sure -- herself).  One measure of these stories’ success, you could argue, is that the author’s identity, gender and otherwise, recedes as the characters and the place envelop us. And yet: I’ll never forget reading “Brokeback Mountain” in the New Yorker back in 1997 (eight years before Ennis del Mar and Jack Twist were immortalized on screen by Heath Ledger and Jake Gyllenhall). The reading experience was breathtaking; I thought, my God, Did I really just read a gay cowboy story, rough sex and all?  Who can forget: Ennis ran full throttle on all roads whether fence mending or money spending, and he wanted none of it when Jack seized his left hand and brought it to his erect cock.  Ennis jerked his hand away as though he’d touched fire, got to his knees, unbuckled his belt, shoved his pants down, hauled Jack onto all fours, and, with the help of the clear slick and a little spit, entered him, nothing he’d done before but no instruction manual needed. They went at it in silence except for a few sharp intakes of breath and Jack’s choked, “Gun’s goin off,” then out, down, and asleep […] They never talked about the sex, let it happen, at first only in the tent at night, then in the full daylight, with the hot sun striking down, and at evening in the fire glow, quick, rough, laughing and snorting, no lack of noises, but saying not a goddam word except once Ennis said, “I’m not no queer,” and Jack jumped in with “Me neither.  A one-shot thing.  Nobody’s business but ours.” At the time, “Brokeback” was as stunning as it was heartbreaking.  Was it more stunning that it had been written by a woman?  Or perhaps less?  It seemed that the editors, or Proulx herself, wanted us to consider the question: in the center of the second page of the opening spread, we saw a cartoon portrait of Proulx, gender-ambiguous at first glance, with the following caption: The author’s first stories, twenty years ago, were all about hunting and fishing – “hook-and-bullet material” – written for a men’s-magazine editor who thought he couldn’t publish a contributor called Annie.  He suggested “something like Joe or Zack, retrievers’ names,” the author recalls.  The compromise was initials: E.A. Proulx.  The “E” somehow stuck.  (The author won the Pulitzer Prize as E. Annie Proulx.)  The author is now sixty-four, and “Brokeback Mountain” is the first story published by just Annie. In the late 1970s, Proulx had to pretend to be a male author to publish stories for a male audience; in 1997, writing an erotic gay-male love story for the intellectual set, she came out, officially, as a woman.  Was October 1997 a moment when we decided that a woman could write whatever she damn well pleased (because look how well she’s doing it)?  Or was the revelation of Proulx’s gender a way of making a groundbreaking story (for the New Yorker, anyway) go down easier? Do we ever really “forget” the author?  Does she ever truly recede when we are reading gender-crossing works?  Do we necessarily want her to? 3. There is the best-known example of Mary Ann Evans, aka George Eliot, the foremother of all women who’ve taken pen names in order to advance as an author.  With her first fiction publication in 1858, Scenes of Clerical Life, she recorded in her journal speculations and letters she received regarding the secret (gender) identity of the author: Jan 2 - “Mrs Nutt said to [George Henry Lewes] ‘I think you don’t know our curate.  He says the author of Clerical Scenes is a High Churchman.” Jan 17, letter from J.A Froude – “I can only thank you most sincerely for the delight which [your book] has given me, and both I myself and my wife trust that the acquaintance which we seem to have made with you through your writings may improve into something more tangible.  I do not know whether I am addressing a young man or an old, a clergyman or a layman.” Feb 16 – “[Mr. John Blackwood] told us Thackeray spoke highly of the ‘Scenes’ and said they were not written by a woman.  Mrs. Blackwood is sure they are not written by a woman.” Only a fellow writer by the name of Charles Dickens suspected: "In addressing these few words of thankfulness […] I am (I presume) bound to adopt the name that it pleases that excellent writer to assume […] but I should have been strongly disposed, if I had been left to my own devices, to address the said writer as a woman.  I have observed what seem to me such womanly touches in those moving fictions, that the assurance on the title-page is insufficient to satisfy me even now. If they originated with no woman, I believe that no man ever before had the art of making himself mentally so like a woman since the world began.” With the publication, and popularity, of Adam Bede, published in 1859, Mary Ann Evans (Lewes) did finally step forward as the woman behind George Eliot. 4. What about Jean Rhys’s Mr. Rochester in Wide Sargasso Sea?  He is a decidedly revised Rochester, less victim than Charlotte Bronte’s – proud, racist, ultimately vicious; misdirecting his emasculation rage (meant for his father) at Antoinette, Rhys’s woman in the attic.  Is there a sense in which Rhys is always there, behind and inside Rochester?  Look how a man can drive a woman to insanity, can destroy her life.  Look at what goes through his mind, how he does it, let me show you.  Rochester’s point-of-view – the majority of the book – is in this sense on some level Antoinette’s point-of-view; Woman’s point-of-view. 5. A random short list (from my bookshelf) of other notable females-writing-males: Joan Silber, half the stories in Ideas of Heaven Ann Patchett, Run Susan Choi, A Person of Interest Jennifer Egan, The Keep, stories in A Visit from the Good Squad Flannery O’Connor, the majority of her work Jhumpa Lahiri, The Namesake, a number of stories Rachel Kushner, sections of Telex From Cuba Marilynne Robinson, Gilead Mavis Gallant, the Steve Burnet stories 6. On the converse side of literary gender-crossing, there are a few exemplary stories by male writers I’d like to mention briefly. In “Family Happiness,” a story about rising and falling romance from the point of view of a young woman who marries an older man, Tolstoy gets the female first-person narrator so right and so true – thought, feeling, and action – there is no doubt in my mind that his disappearance from the reader’s consciousness is the goal, poignantly achieved.  (One wonders if Anna Karenina might have been written in the first person, to equal or greater effect!) Daniel Mueenuddin’s linked collection, In Other Rooms, Other Wonders, features two heartbreaking stories of the Pakistani servant class – “Saleema,” along with the title story – both told from the third-person point of view of women.  The protagonists Saleema and Husna are at the mercy of male power, which, in this context, is the same as societal power; both meet tragic ends.  What’s interesting to me about having knowledge of the author’s male gender in this case is that, while I wouldn't cite anything particularly “male” in the telling, there is something in the fact of the male telling that dignifies the women in an important way.  The stories are told truthfully, unhysterically; this is how it is, the (male) author posits.  There is no guilt, no “message,” just the telling.  I somehow have the urge to thank him. Finally, a most interesting example: Colm Toibin’s “Silence,” from his new collection The Empty Family.  The heroine is a fictionalized (though researched) Lady Gregory, an Irish dramatist – married to Sir William Henry Gregory, a former governor of Ceylon and 35 years her senior – who came into her own as a writer when she became widowed.  Toibin portrays Lady Gregory as a good aristocratic wife – “She had made sure that she was silent without seeming shy, polite and reserved without seeming intimidated” – yet also sharply observant, quietly ambitious, more concerned with Beauty as a form than its earthly incarnations.  In the story (and in real life), she has an affair with the poet Wilfrid Scawen Blunt, and is more stimulated by the idea of the affair than the passion itself.  This intellectualized intensity results in the writing of a series of love sonnets, which she convinces Blunt to publish under his own name (this is also true to life).   At the story’s end, she dines with Henry James and passes on an altered version of her affair as fodder for the great writer’s fiction. How true to the real Lady Gregory Toibin’s characterization is, I don’t know, but I loved the way in which Toibin, the male writer, endowed the female character of a certain era with “inappropriately" male drives and talents, both confining and liberating her as a woman and artist.  In other words, I felt a simultaneous intimacy with the male “frame” and with female intellectual desire within that frame, as observed/admired by a male writer.  The layering is distinct from, say, Lizzie Bennett in Jane Austen’s world, where the world is itself seen through a female author’s gaze. 7. In literary gender-crossings, do we ever really forget the author?  Do we necessarily want to?  Predictably: yes, and no. (Image: Male/Female - Jonathan Borofsky from _o_de_andrade_'s photostream)

The Long and the Short of It: Linked Story Collections Bridging the Divide

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1. I’m just not a short-story writer, a few fiction writers have said to me recently, young authors who’ve written one or two novels.  I’m struck by the statement, because I wonder often about this – the difference between long form and short form, process-wise – and have been tempted to make the declaration (to myself, at least) as well.  At this point, I empathize with the statement, but am not quite ready to go there. I wrote short stories earlier in my writing life because, well, that’s what They told us to do. And They were right.  You do need to work on several stories, soup to nuts, to hone craft and process, narrative structure, revision skills; to experiment with voice, point-of-view, subject matter.  Of course you can practice and develop all these by writing a novel; but it will take you much much longer.  Consider how many story drafts get partially or completely tossed into the literal and/or virtual garbage as you figure out what you are really writing about; how many novels do you want to write and trash as part of your learning process before your stamina gives way to defeat? Practice works best on a manageable scale. But I never felt like I hit my stride with short stories.  I published several, and even won some awards, but of all the stories I’ve written, I’m probably proud of one, maybe two of them.  One story, which won a fairly prestigious award, was so bad in my opinion, that I completely destroyed it – hard copy and digital.  (I recently contacted the publication that sponsored the award, and they too have no record of it; poof! – I am not a short-story writer.) When I happened upon the novel that would become Long for This World, it was liberating and exhilarating.  All that room, the freedom to move among settings, cultures, time periods, points of view.  The license to spend three or four years working on something, keeping notebooks full of ideas and sketches and scenes, filtering anything and everything through the lens of The Novel I’m Working On; indulging my mind and imagination in layers of world and character and idea.  This is my medium, I started to think; this is how I experience life – big and messy – what existence means to me.  I am a kitchen-sink writer: throw it all in, everything you care about in one, interconnected world, glorious heterogeneity; then shape something out of it. But look: I’ve written one novel (and a second monster of a novel draft), and I’m not even 40 yet.  Is it really time to decide what kind of writer I am?  Developing as a writer is indeed so much about knowing thyself; about riding the tailwinds of your strengths, not spinning your wheels trying to be a different kind of writer than what you are.  David Means said recently in a New Yorker podcast, referring to Raymond Carver, “Style is a maneuver around what you can’t do […] around things you can’t deal with.”  Barry Hannah said, “Be master of such as you have.” On the other hand, the sculptor Henry Moore said that contentment is having an impossible goal, the absorbedness (Donald Hall’s word) of pursuing it.   To me, the short story is this miraculously compressed form, elegant and complex, small in shape but large and deep in meaning; it has the capacity for perfection in a way that the novel does not.  Many writers work their way “up” to writing a novel; perhaps my artistic trajectory will be to work my way “down” to writing gorgeous, perfect short stories.  Who knows?  I look forward to finding out. 2. In the meantime, I am lately obsessed with the form we refer to as “linked” stories.   Sometimes these are called “story cycles” or “a collection of tales about _____.”  As a reader and developing writer, I cannot get enough of this form: compression and vast heterogeneity in one!  The stories in this sort of collection may vary widely in style, voice, point-of-view, scope.  Often they are held together by a single character, or perhaps a place/culture; or both. The “link” can be strong or weak, explicit or implicit.  From where this writer sits – aesthetically, developmentally – the linked collection is a potential new “home” for development of craft.  If 20 pages never quite feels like enough; if you and your world /your character have more business to tend to at the end of this particular narrative arc; or if that minor character got cut from a story but is still breathing and pulsing and waiting to go on stage; well then off you go to the next story in the “cycle.”  At the same time, you can work within the framework of compression, of small moments, of elegant lines and movement; you can write and sustain a standalone piece that is driven solely by the energy of voice; you can work at mastering the power of simplicity without sacrificing prismatic complexity.  Ah, the joy, the absorbedness, of the impossible goal. 3. Some of my favorite linked collections: Winesburg, Ohio by Sherwood Anderson – short “tales” of life in the fictional Midwestern town of Winesburg.  We get to know many different characters, and all the stories reveal the essential (and ironic) loneliness of living in a place where everybody knows your name.  Haunting, romantic, a masterpiece of the achingly grotesque inner lives of human beings. Ideas of Heaven by Joan Silber – both form and content are stunning in this National Book Award finalist.  The collection is subtitled “A Ring of Stories,” and indeed they are meant to be read in sequence; a minor mention or character in one story becomes the heart of the next (and we start and end with a contemporary character named Alice). In between we traverse centuries and continents, along with the timeless experiences of faith and passion, each story novelistic in scope. Picasso said that a great work of art comes together “just barely,” and there is that delicate, not-quite-taut sense of wholeness in Silber’s work. Close Range: Wyoming Stories by Annie Proulx – Proulx’s Wyoming is a brutal and unforgiving place, but not one that we can’t all on some level relate to: you may not be a rodeo bull-rider, but you probably know what it is to feel wounded and constrained by your parents’ flaws; you may not be a gay cowboy, but you may know the pain and dangers of hiding (and revealing) your deepest passions in a hostile environment.  I particularly love the diversity of form within the collection; stories range from two to 40 pages long, from sharply humorous flash fictions to vast, novelistic canvasses. Varieties of Exile by Mavis Gallant – like many devotees of Gallant, I don't know what took me so long to get to her.  Her stories I suppose are difficult, in the sense that the prose is dense, intelligent, original.  This is not “summer reading.”  The series of five Linnet Muir stories are the ones I’ve enjoyed most and exemplify exactly what I love about linked stories; each story stands alone, but together they sing.  I recommend them for anyone who is weary of mopey-smart-girl stories but wants to be inspired by excellent mopey-smart-girl stories. Stories by Leonard Michaels -- I love the stories about a character named (Phillip) Leibowitz, as both a youth and an adult, including “Murderers,” “City Boy,” “Getting Lucky,” and “Reflections of a Wild Kid.”  The character may not be exactly the same character in all the stories, but again that’s the beauty of the form; maybe he is, maybe he isn’t. Michaels didn’t assemble these stories to form a collection, he used the linked form more liberally.  Before he died in 2008, Michaels was also working on a series of stories about a mathematician named Nachmann. Jesus’ Son by Denis Johnson  -- the nameless through-line narrator of these stories is an excellent study in compelling unlikeability.  He sees the world so vividly, and ecstatically; though only when he’s high or experiencing some kind of violence or brutality.   The reader lives in that uncomfortable tension throughout, and enjoys it.  By the final story, our anti-hero settles down a bit, though (we find ourselves hoping) not too much. Fidelity by Wendell Berry – in these five stories, Berry revisits the world of Port William, Kentucky, the territory for all his fiction, and even some of our favorite characters like Andy Catlett, Berry’s presumed fictional persona.   Berry’s fiction is both warm and harsh, in the way that perhaps only a farmer-poet-essayist-fictionwriter-activist can be. Stories by Anton Chekhov – Chekhov’s stories are not linked, per se, but as I wrote in a previous essay here at The Millions on the good doctor, there is something to be said for reading them in groups, in succession – as if together they make up his Great Novel, his population of characters all really aspects of One Universal Character.  To my mind, the stories are linked by Chekhov’s acute vision of humanity – as flabby and flawed, yet earnestly suspended in perpetual longing.  As readers, we recognize that longing, its tragedy and vitality. Lastly, it’s been many years since I’ve read either of these, but The Beggar Maid by Alice Munro and Dubliners by James Joyce are two widely acclaimed and beloved linked-story collections that are worth mentioning here.  John Gardner wrote about the former, which revolves around two characters, Flo and her stepdaughter Rose: "Whether [it] is a collection of stories or a new kind of novel I'm not quite sure, but whatever it is, it's wonderful.” The latter, of course, is Joyce’s searing portrait of his home city in the early 20th century, captured in 15 stories, one of which, “The Dead,” is considered by some the greatest short story ever written. 4. Art is long, as they say.  Writing well, in any form or genre, is a marathon, not a sprint.  Far in the distance, many training miles ahead, I see that perfect gem of a story, those immortal 5,000 words that will leave the hundreds of thousands of others I’ve scribbled and typed, maybe even published, in the dust. (Image: Chains - rusted from knottyboywayne's photostream)

The ‘Long Time’ of Joan Silber

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Literary awards please almost no one. As William Gass famously complained, “any award giving outfit is doomed to make mistakes and pass the masters by in silence.” Each year, nominees are announced and each year readers and critics love to grumble. The 2004 National Book Award Nominees for fiction, however, inspired a level of grousing rarely seen in the last decade. Each nominee for the shortlist was a woman, and each woman lived in New York City. Immediately, both the mainstream press and the literary blogosphere started throwing about terms: Elitist. Insular. Sameness. The New York Times gleefully reported that none of the women nominated had sold more than 2,000 copies of their books and quoted the literary editor of The Atlantic as saying, “I thought this was a really weak year for fiction, but I still wouldn't have guessed that any of these would have been strong contenders.''  Major newspapers that had not reviewed the books attempted one-fell-swoop pieces in which they treated the five disparate works as some sort of literary quintet, complete with facile pronouncements about their collective shortcomings. Chairman of the judges panel Rick Moody took a good deal of criticism for imposing his aesthetic with too heavy a hand. Caryn James of the Times searched (and claimed to find) common links between all the nominees, writing: “all five are built on compressed observations that easily veer into precious writers' program language, too woozy and poetic for its own good.” Of course, this was a stretch. Five books by five women from the same city of eight million souls do not make for a uniform aesthetic. Anyone who reads one sentence written by 2004 nominee Christine Schutt, a former Gordon Lish acolyte known for her attention to the sonics of language, repetition, and rhythm as well as unusual and stunning verb choice will immediately see the folly of James’ claim. Joan Silber, another one of the five nominees has a strikingly different prose style, a much more straightforward and unadorned mode that could not be further from Schutt. Lost in all the befuddlement about these relative unknowns and their supposed similarities were the actual merits of the books nominated. Among the crop of nominees was Joan Silber, nominated that year for her “ring of stories,” Ideas of Heaven, a work that explores the long-term impact that a single choice can have on a life. In every chapter/story, a Silber character is faced with a decision that takes decades to reveal its true repercussions, and often the actual impact of this decision will lie unrealized, producing subtle and destructive consequences for the rest of the character's life. Whether Silber characters inhabit 16th century Italy or contemporary America, all of them are similarly preoccupied when it comes to life-choices and whether the passage of time allows for any sort of lesson at all when it comes to reflecting on the lives they have chosen (or been forced) to live. In both Ideas of Heaven and her 2008 work, Size of the World, Silber utilizes nearly identical structures to portray the universality of this condition. Regardless of time period, Silber employs strikingly similar narrative voices for all of her characters, with few allowances for age or gender.  In the same way that Silber’s characters from different countries and time periods have nearly identical emotional concerns, the consistency of voice in Ideas of Heaven and Size of the World is yet another Silber technique employed to demonstrate the shared humanity of these disparate characters in the most varied of circumstances. What, you might wonder, is the “ring of stories” referred to in Ideas of Heaven? How is the ring related to the linked short story, the novel-in-stories, and the plain old-fashioned novel? Though there is no sport more boring and useless than literary classification, when Silber’s Ideas of Heaven is paired with Size of the World, one can see how little this question matters. (Even the author may not be the most authoritative in this case. In an interview with The Millions, Silber herself calls Ideas of Heaven “a hybrid between the novel and linked stories” and refers to the structure of Size of the World as simply, “this form.”) Billed on the front as “a novel,” Size of the World utilizes almost the exact same structure as Ideas of Heaven, the “ring of stories.” In both works, Silber has pioneered a distinct form, a crowd-told tale of multiple first person narrators, each chapter building on the next, but with each narrator’s story containing a dramatic structure traditionally associated with short fiction. In fact, chapters from both Ideas of Heaven and Size of the World were published in journals and anthologies as standalone short stories. However, the Silber-applied “ring” in question likely refers to the fact that as the reader progresses through the work, the newer stories alter understanding of the earlier stories, until by the very end they have eventually circled back and all affected each other. Silber utilizes passage of time like few of her contemporaries. Most interesting is Silber’s usage of what she herself calls, “long time.” In each story or chapter in Size of the World and Ideas of Heaven, decades pass, often in one sentence. “We went through all our savings, such as they were, in those five years in Ohio,” from Ideas of Heaven, or “In the third year we were together, the band had such a long dry spell that Randy got side work with a friend’s combo that did weddings and bar mitzvahs,” from Size of the World. But Silber’s “long time” is not merely about summary and exposition. Silber herself has laid out the blueprint for how what exactly “long-time” is and how she accomplishes it in her craft book, The Art of Time in Fiction. Though ostensibly an exploration of how authors manage and explore time in their work, Silber glides over “classic time”, “slowed time” and others to get to the passage of time she clearly finds most engaging: long time. The most consistent Silber technique in long time is to utilize habitual action as though it were a single event. Examples abound in every chapter or story in both Ideas of Heaven and Size of the World as well as many of Silber’s earlier short stories. In Size of the World, Corrina, who eventually spends six years in what is then Siam, narrates her gradual comfort with the land around her: My walks got longer, along the roads going inland, with paddies and forest on either side. Often I wanted to bring back a flower or a leafy stalk, but the stem were too fleshy to break, and I had a rational fear of sticking my hand in the foliage. I knew about snakes. Silber discusses the benefits of this method in The Art of Time in Fiction, naming Flaubert and Chekhov as masters of this technique and claiming that “even in a story that leaps over long spans of time,” such a move allows for “the intimacy of the close gaze.” Though other contemporary authors often deal with extended periods of time, few do so in the manner of Silber. Alice Munro, for instance, also often chronicles decades in the lives of her characters. Munro, however, utilizes shifting perspectives and frequently jumps forwards or backwards in time. Though Silber often credits Munro as a major influence, Silber’s work is much more constrained. Once a Silber character begins narrating a chapter or story, you can be sure that she will remain the sole narrator. In Munro, this is far less likely. Additionally, Munro is much more likely to experiment with tense, with stories completely told in present tense, (“Walker Brothers Cowboy”) or alternating between past and present (“Accident”). Silber characters all narrate their past from a usually undetermined later period in life. Where for Munro, time may be elastic, for Silber, time is guaranteed to be a linear progression that is difficult to make sense of. Though sole incidents often deeply affect Silber and Munro characters for the rest of their lives, the two authors differ in their illustrations of these effects. Unlike in Munro stories, a Silber character may think about the past, but they will never do it in scene. Though the first person narrators who populate Size of the World and Ideas of Heaven are of distinct genders, nationalities, time periods, and generations, Silber uses the same technique of long time in each of the stories/chapters. Silber seems to utilize the long form in order to allow the weight of an action to fully inhabit its impact on the character. That is, time passes in Silber stories so the reader can fully understand the effect a seemingly unimportant decision or unforeseeable event (a car crash, a hurricane) can have on the rest of a character’s life. To truly demonstrate the impact of these events and how they change the character(s) in question, a good deal of time must pass. Unlike Alice Munro and other contemporary authors, Silber rarely withholds information. Before a reader begins a story/chapter in Size of the World, a heading makes the reader aware of the narrator’s name, as well as an encompassing emotion that will be present in the story (envy, lust, paradise, loyalty, etc).  In addition to her titles, Silber’s beginnings ground the reader immediately. For example, “Paradise” from Size of the World, begins as follows: “We moved to Florida in 1924, just as the land boom was taking off. We were not a young family—I was already twenty-one and my parents were in their forties and fifties.” With assistance from the title, we already know from the first two sentences that our narrator’s name is Corrina, as well as her age, the time period, and geographic location. A consistent Silber sub-theme within her explorations of time and its effects is uprootedness and migration. As time passes, Silber characters tend to repeat both the process of falling in love with a new place and being upended and wishing one was back in the place that was once unfriendly. This pattern is a constant in Size of the World as well as Ideas of Heaven. Even when Silber characters are unhappy with the geographic location in which they find themselves, they rarely find the place overwhelming for very long.  If they do, they soon—via Silber’s habitual time rendered as scene—become acclimated in several paragraphs that may span years. This is not to say that Silber characters are always happy where they are. Quite often, they would simply rather be elsewhere, or are visitors in the place that they call home. It is only the passage of time that dulls their sense of dislocation.  Silber’s Annunziata, in Size of the World, uprooted from Sicily: “I didn’t really want to get better at knowing Hoboken, things—deep in my heart they didn’t interest me—but I learned them, inch by inch, in spite of myself.” For Silber, the decades passing allow the reader to recognize the long-term impact of decisions on the characters. In her project of exploring the devastating or healing effects of time, Silber has created a rare formula, exploring very large questions through the tiniest and most specific of lives.

Ah, The Children: Jennifer Egan’s A Visit From the Goon Squad

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Jennifer Egan’s latest novel-in-stories is populated by has-beens, suicidals, idealists, divorcees (aka serial monogamists), romantics, and ex-prisoners, many of whom have been chewed up and spit out by the soul-less music and film industries, or the PR machine that fuels them. And if A Visit From the Goon Squad was a traditional story collection, Egan may have titled it Out of Body, after the 10th story-chapter; for we see these characters in blips over time, often muddling through an unsavory, perplexing present and looking back on youth from a vantage point both above and below ghosts of their former selves. The book, for example, opens with a one-night stand between two characters and ends with a fantasy revisitation, some years later: “Alex imagines walking into her apartment and finding himself still there – his young self, full of schemes and high standards, with nothing decided yet.” But Goon Squad is not a traditional story collection. Its form brings to mind Joan Silber’s Ideas of Heaven, a story cycle in which a minor character from each story becomes the protagonist of the story following (or is it that the protagonist of each story is plucked from the cast of minor characters in the previous story? A question of both process and intention, I suppose; thus the term “cycle.”) The difference is that Goon Quad is not so much a neat cycle (despite the return described above), as it is a 3-D ven diagram; with chapters/characters darting about both laterally and vertically in time, point of view, and detail. It is very much a New York City novel – six degrees of separation everywhere, more often two or three degrees, and not virtually, but in-the-flesh – and it is perhaps Egan’s most decidedly contemporary work, with its headlong dive into the convergence of media, product promotion, hyper-celebrity, and the atomization and gadgetization of our lives. Bennie and Scotty are high school friends in San Francisco who have a band called the Flaming Dildos. Rhea, Alice, and Jocelyn are their groupies. Scotty and Alice eventually marry, but then divorce. Jocelyn starts up an affair with an older man named Lou, who is a powerful music executive. Lou goes through two marriages, various girlfriends (and Jocelyn, too); his children are Charlene (“Charlie”) and Rolph, the latter of whom, emotionally troubled as he grows into adulthood, “doesn’t make it.” Later, Lou mentors Bennie, who himself discovers a band called the Conduits; the band hits it big, and Bennie founds a successful label in New York called Sow’s Ear Records. For 12 years, his assistant is Sasha (the woman in the opening chapter) – a kleptomaniac and multiple-suicide-attempt survivor whose college best friend Rob also attempts suicide (and also fails) and then drowns on Sasha’s then-boyfriend/eventual husband Drew’s watch. Bennie’s first wife Stephanie works for a PR grand dame named Dolly, and Stephanie’s brother Jules is a gossip journalist who’s just served five years in prison for attempting to sexually assault one of his subjects, a young starlet named Kitty Jackson. Later, as a jaded 28 year-old notorious in the tabloids for on-set tantrums, Kitty participates in a desperate, nearly fatal PR scheme to improve the image of a dictator – a scheme developed by Dolly, who is now persona non grata in the PR world because of a disastrous party she once threw in which an elaborate ceiling decoration went dangerously wrong (Dolly also does some prison time, six months for criminal negligence). Dolly’s daughter Lulu – 9 years old at the time of the Kitty Jackson scheme -- eventually becomes Bennie’s new assistant, post Sow’s Ear (and post-Stephanie) after Bennie’s gone back to producing indie musicians (and remarried to a young woman named Lupa). In the novel’s finale, Lulu teams up with Alex – Bennie’s new potential protégé, and Sasha’s one-night-stand from Chapter 1– to promote Scotty’s return to the music scene as an indie soloist. Phew. I drew a flow chart myself to sort it all out, which I found helpful. Take that, agents and editors who warn novelists against “too many characters.” And I haven’t even named here all the children. Ah, the children. The eponymous goon here may be time (“Time’s a goon,” the washed out, former lead singer of the Conduits says, as does Bennie later on) – time passes, time disorients, time wears and tears; and in no other universe does time trample on souls and bodies more ruthlessly than in that of entertainment – “This is the music business,” Sasha reminds Bennie. “Five years is five hundred years.” Egan’s eyes and ears for the world of appearances – glitz, glam, and all that is required to churn the celebrity machine – is acute (territory that Egan readers will recognize from her first story collection Emerald City and from her second novel Look At Me), and she does take particular interest in exploring the particular brand of ruin that befalls the formerly famous/pseudo-famous. But she’s also got her sights set on the future – on the children, on their particular experience of this same disorienting, media-fied and atomized world of experience-on-demand. How are they responding to all of it, and how are they being shaped? I’m not sure that Egan answers that question, as much as she asks it; but she does render child characters – and child flashbacks of adult characters -- with a striking reverence for both their genius and sensitivity. Lulu -- “Overhearing her daughter on the phone with her friends, Dolly was awed by her authority: she was stern when she needed to be, but also soft. Kind. Lulu was nine” – Rolph -- “At eleven years old, Rolph knows two clear things about himself: He belongs to his father. And his father belongs to him…Rolph closes his eyes and opens them again. He is in Africa with his father. He thinks, I’ll remember this night for the rest of my life. And he’s right” – Sasha at age 5 -- “...the child was spinning them out as a way of filling the time, distracting them both from whatever was going on inside that house. And this made her seem much older than she really was, a tiny little woman, knowing, world-weary, too accepting of life’s burdens to even mention them” – and Sasha’s daughter Allison and “slightly autistic” son Linc – these are the real stars of A Visit From the Goon Squad. And, to put a fine point on it, Egan gives us “Pure Language,” the final chapter: a futuristic glimpse into the inevitable creep of precociousness-meets-technology. In addition to the children themselves, I found the brother-sister relationships – and the portrayal of platonic love between male and female in general (between, for example, Bennie and Sasha, and Sasha and Robert) – moving and poignant. Chapter 12 is told from young Allison’s perspective, in “slide journal” form (a kind of poetic-diagrammatic Powerpoint), and provides for us a child’s view of her parents’ estrangement; which is at root the estrangement of her father from her beloved brother Linc, a mathematical/musical idiot savant, who intuits the goonishness of time even at his young age via his obsession with musical pauses: “[Linc’s] crying makes sounds like scraping / Hearing him cry makes me cry, too. / Dad tries to hug Lincoln but he flinches away and hunches his back into a ball. / Mom’s face is white and furious. / She leans close to Dad, and says very softly: / The pause makes you think the song will end. And then the song isn’t really over, so you’re relieved. But then the song does actually end, because every song ends, obviously, and THAT. TIME. THE. END. IS. FOR. REAL.” Fans of Egan’s previous novels will be intrigued and excited, I think, to delve into her work in this new (for her) collage, time-shifty, polyphonic form. What the form does have in common with a traditional story collection, however, is that each chapter on some level stands on its own and thus the reader experiences the same unevenness as when reading a series of stories. “Safari,” in my opinion, is far and away the novel’s strongest chapter (having read it in the New Yorker, I was primed and jonzing for Goon Squad); but its characters are not as narratively central as others, and so its strength tips the work in a slightly disorienting way. Without revisiting Charlie or Rolph or even Mindy, Lou’s girlfriend at the time, in any substantial way, we’re left a bit dissatisfied. I was myself eager to see how the novel-in-stories form would serve and showcase Egan’s particular talents as a sharp observer of modern families and culture, along with her idea-driven approach to fiction. In the end, Goon Squad delivers on all the pleasures of Egan’s gifts as we’ve seen them displayed in the past – crisp and pulsing prose, extraordinary psychological insight, finely-specified characters seen from various points of view, a dark and yet vibrant wit, and off-the-charts observational intelligence. But the strain apparent in much of Egan’s work, i.e. the plotty feeling of her plots, is also still evident here, perhaps even more so given the myriad strands she pulls together in order to connect all of her dots (credible degrees of separation notwithstanding). Egan’s work often contains hard turns of the steering wheel (I am thinking here of Phoebe’s one-in-a-million run-in with Wolf in Munich in The Invisible Circus, and Egan’s puppeteer’s handling of the characters/meta-characters in The Keep), and readers will feel steered and handled in Goon Squad as well. But as a student of mine has put it, “It feels a little like she’s putting a fat kid in a tutu; but boy, that kid can dance.” And: “It feels like she’s moving furniture; but you’re sort of in awe of the fact that she has the balls to put the sofa in the kitchen.” In my own work, I find I am also less interested in story than idea or character, and have been known to make strategic (some might say liberal) use of the coincidence; so it's inspiring to see Egan careen and maneuver with a sure hand. A Visit From the Goon Squad ultimately secures Jennifer Egan’s place as a personal touchstone for me, and I would guess for many emerging novelists. Her work is (skillfully, decidedly) equal parts brainy and empathic, hyper-realist and fantastical, gritty and luminous; it is both so-damned-good and identifiably flawed. I teach her stories often and encourage my students (and myself) with her example: “Be brave; sometimes you just need to grab the reins and try stuff.”

In Defense of the Mom Book: Picks for Olive Kitteridge Fans

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In the comment section of our most recent The Millions Top Ten post, I wrote that Olive Kitteridge, this year's Pulitzer Prize-winning collection of linked short stories by Elizabeth Strout, was beautiful and moving, and that it caught me by surprise. What surprised me, I guess, was that I liked it at all. I'd only read it because because of a book club - this is a group that pays me to attend and facilitate the discussion (not a bad gig!) - and I assumed Olive Kitteridge wasn't for me. After all, it's a collection of quiet stories either directly about, or tangentially related to, its eponymous character: a gruff, retired math teacher in Maine. In other words, it sounded like a "mom" book - a book meant for women older than me, women different from me. I've written about this phenomenon before:I catch myself viewing such books (written by women, and read mostly by women) as somehow not important or challenging enough, even though when I've given in and read, say, Ann Patchett's Bel Canto, I'm met with something both ambitious and moving, and I need to check my attitude.I have a complicated relationship to this question of the Mom Book. It's sexist, for one, as it assumes that mothers have uniform reading tastes, and that books that are popular among women are suddenly embarrassing, or not worthy of serious discourse. All untrue, obviously. I understand that these are my own weird beliefs and assumptions, and that I must be careful, as someday, I might be a mom, wearing my Mom Jeans, reading (and writing!) my Mom Books. I should be so lucky. For the record, my own mother reads everything from John Irving to Lisa See to Phillippa Gregory. She read Mason and Dixon. In hardcover. (From now on, I'm going to refer to Thomas Pynchon's books as women's fiction, and see what happens to his reputation.)I understand, after having read Olive Kitteridge, that it is a Mom Book, if a Mom Book is one that's interested in the lives of women, and if it's emotionally affecting. There's also little irony in Olive Kitteridge, which is probably absent from a lot of Mom Books. If Strout's book errs on the side of sentimentality once or twice, well, I can forgive that, because nowadays it's easy to be ironic, detached, cynical, and merely intellectual. It's harder to be lyrical without slipping into overly purple prose. It's harder to write about feelings. And I guess, in the end, Mom Books want you to feel something.But I'm getting away from the original purpose of this post, which is to recommend other books to those Millions readers who enjoyed Olive Kitteridge (all you mothers out there!). Since writing reviews takes the fun out of reading for me - I can only handle the bookstore clerk's "hand sell" recommendation model - I'll say only this to those of you who haven't yet read it: Strout has created a thoroughly flawed, compassionate, vulnerable, frustrating character. In the world of this book, people commit suicide (or don't), they grow old and die on you, and your children grow up and leave you. The moments of connection between characters, or those connections that are recalled after-the-fact (which "day after day are unconsciously squandered"), are at once fleeting and immense. It's a lovely book.Stories like "Pharmacy," about Olive's husband's infatuation with his much younger employee, were reminiscent of Joan Silber's work, for it covers time in the same efficient, fluid way. I recommend Silber's Ideas of Heaven, which, like Olive Kitteridge, is a collection of stories linked by character (though not always the same one, and the eras and locations change.) Still, you'll get that same zing! when a character from a previous story appears in the next one.Olive Kitteridge also reminded me of Alice Munro's work. Like Munro, Strout values backstory; for her characters, the past resonates in the present, and shapes it. And like Munro's work, Strout's stories aren't predictably structured. I often wasn't sure where her tales were taking me; I'm not referring to plot - I mean that I was uncertain of a story's purpose, of what it wanted to tell me about its characters and their lives, and maybe my own, until I'd reached its end. Alice Munro is the master of this kind of storytelling; it echoes what Flannery O'Connor once said, (and I'm paraphrasing), about good fiction having not abstract meaning, but experienced meaning. You've got to move through the stories in Olive Kitteridge if you want to be changed by them.And... let's see...I'm trying to think of other writers whose work is similar to Elizabeth Strout's, and I'm drawing a blank. This is a good thing, certainly. I will try to think of more... but first, I have to read Loving Frank for the aforementioned book club. Oy vey.

A Year in Reading: Joan Silber

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Joan Silber, a finalist for the National Book Award and the Story Prize for Ideas of Heaven, teaches at Sarah Lawrence College and lives in New York City. Her most recent novel is The Size of the World.My two favorite books this year were a new and an old. I loved Margot Livesey's new novel, The House on Fortune Street. Like all of Livesey's work, it has a mystery to it that is dark and yet has elements of beauty. Here four characters tell separate tales, united by their connection to a suicide and by their own jagged family histories. I heard Livesey on NPR, just after the book came out, and she said she thought what kept people from "free will" was not "pre-destination" but what we now call "baggage," the remnants of the past we drag with us. The fates of these characters stayed with me - it's a haunting book.This year I also re-read Angela Carter's The Bloody Chamber. First published in 1979, these are wild re-tellings of fairy tales, with all the blood and sex and cruelty brought to the surface. Carter got amazing mileage out of feminist re-envisionings of wolf tales and Beauty and the Beast. In all of these, the woods are dangerous, our own animal natures lie in wait, and sex is not for sissies. Carter. who died much too young at 51, forged her own path, and her boldness still sends sparks.More from A Year in Reading 2008

A Year in Reading 2008

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The distractions of a good book have been in high demand this year. A quiet corner and a transporting story offered a reprieve from relentless campaign news not to mention cheap entertainment for the many feeling a sudden impulse for thriftiness. 2008 was a loud year, and this final month seems likely to be only more deafening. The annual shopping frenzy has already ramped up, this year with overtones of desperation and the macabre.Yet in the spirit of the season (though in defiance of the prevailing mood), we offer a month of gifts - collected with the help of many generous friends - to our readers. There will be plenty of lists in the coming days assigning 2008's best books (and movies and music and everything else you can think of), but it is our opinion that these lists are woefully incompatible with the habits of most readers. As it does with many things in our culture, what we call "the tyranny of the new" holds particularly strong sway over these lists. With books, however, it is different. We are as likely to be moved by a book written 200 years ago as we are by one written two months ago, and a list of the "Best Books of 2008" feels fairly meaningless when you walk down the aisles of your favorite bookstore or library.Being a reader is about having millions of choices, and a lucky reader has trusted fellow readers as her guides. With this in mind, we've asked a number of our favorite readers (and writers and thinkers) to be your guides for the month of December, with each contributor sharing with us the best book(s) they read in 2008, regardless of publication date. And so we present to you our 2008 Year in Reading, a non-denominational advent calendar of reading recommendations to take you through to the end of 2008.We're doing it a little differently this year. The names 2008 Year in Reading contributors will be unveiled one at a time throughout the month as we post their contributions. You can bookmark this post to follow the series from here, you can just load up the main page for more new Year in Reading posts appearing at the top every day, or you can subscribe to our RSS feed and follow along in your favorite feed reader.Stephen Dodson author of Uglier Than a Monkey's Armpit, proprietor of LanguagehatNam Le author of The BoatBenjamin Kunkel founding editor of N+1 and author of IndecisionRosecrans Baldwin founding editor of The Morning News and author of You Lost Me ThereHamilton Leithauser lead singer of The WalkmenMark Binelli author of Sacco and Vanzetti Must Die!Dan Kois founding editor of VultureAmanda Petrusich author of It Still MovesJoseph O'Neill author of NetherlandRex Sorgatz of Fimoculous.com.Elizabeth McCracken author of An Exact Replica of a Figment of My ImaginationJoan Silber author of Ideas of Heaven and The Size of the WorldAnder Monson author of Other ElectricitiesDon Lee author of Wrack and RuinTraver Kauffman of Black GarterbeltBuzz Poole author of Madonna of the ToastEdan Lepucki of The MillionsJim Shepard author of Like You'd Understand, AnywayPeter Straub author of seventeen novelsRachel Fershleiser co-editor of Not Quite What I Was PlanningCharles Bock author of Beautiful ChildrenEdward Champion of The Bat Segundo Show and edrants.comHelen Dewitt author of The Last SamuraiManil Suri author of The Age of ShivaCharles D'Ambrosio author of The Dead Fish MuseumChristopher Sorrentino author of TranceWells Tower author of Everything Ravaged, Everything BurnedLawrence Hill author of Someone Knows My NameJohn Wray author of LowboyEd Park founding editor of The Believer and author of Personal DaysSarah Manguso author of The Two Kinds of DecayKrin Gabbard author of Hotter Than ThatJosh Henkin author of MatrimonyJosh Bazell author of Beat the ReaperBrian Evenson by The Open CurtainCarolyn Kellogg of Jacket Copy and www.carolynkellogg.comHesh Kestin author of Based on a True StoryScott Esposito editor of The Quarterly Conversation and proprietor of Conversational ReadingGarth Risk Hallberg author of A Field Guide to the North American Family: An Illustrated Novella, contributor to The MillionsSana Krasikov author of One More YearSeth Lerer author of Children's Literature: A Reader's HistoryLorraine López author of The Gifted Gabaldon SistersAnne Landsman author of The Rowing Lesson and The Devil's ChimneyMark Sarvas author of Harry, Revised and proprietor of The Elegant VariationBrad Gooch author of City PoetKyle Minor author of In the Devil's TerritoryChristine Schutt author of Florida and All SoulsTodd Zuniga founding editor of Opium MagazineDavid Heatley author of My Brain is Hanging Upside DownV.V. Ganeshananthan author of Love MarriageFrances de Pontes Peebles author of The SeamstressLaura Miller cofounder of Salon.com author of The Magician's Book: A Skeptic's Adventures in NarniaDustin Long author of IcelanderMaria Semple author of This One is MineRob Gifford of NPR, author of China RoadJohn Dufresne author of Requiem, MassMatthew Rohrer author of Rise UpMickey Hess author of Big Wheel at the Cracker FactoryGregory Rodriguez author of Mongrels, Bastards, Orphans and VagabondsDavid Ebershoff author of The 19th WifeTim W. Brown author of Walking ManPablo De Santis author of The Paris EnigmaHugo Hamilton author of DisguiseJoshua Furst author of The Sabotage CafeKevin Hartnett of The MillionsRoland Kelts author of JapanamericaNikil Saval assistant editor at n+1The Year in Reading RecapBonus Links: A Year in Reading 2007, 2006, 2005

The Millions Interview: Joan Silber

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Joan Silber's most recent novel, The Size of the World, is sweeping yet intimate, the kind of book that will take you across continents, and deep into characters' individual lives. She is the author of the story collection, Ideas of Heaven, which was nominated for the National Book Award, as well as four other works of fiction.The Millions: The Size of the World is billed as a novel, although it could also be called a novel-in-stories or a collection of linked stories. While the book is in fact short stories that are either tangentially or deeply connected, it has the narrative drive of a more conventional novel. Really, it's addictive. When you were writing the book, did you conceive of it as belonging to a particular genre? How did you balance writing separate narratives while still maintaining such delightful readability?Joan Silber: I did have the idea that I wanted to write a composite fiction more unified than what I'd done before - a hybrid between the novel and linked stories - but I didn't exactly know what I was doing till I was into it. Which is to say, I made it up as I went along but I mostly knew what I was after. It was very gratifying to me to see how certain characters (Owen especially, who has the ending chapter) could come in again and be re-imagined in a way that pushed the story further. I'm very glad if the connections themselves caused a kind of narrative suspense.I knew this form would suit a book about people leaving home, with settings in Vietnam, Thailand, Mexico, etc. But sometimes I think I won't ever go back to writing a single-plotted novel. There's a quote from John Berger, "Never again will a single story be told as if it's the only one." I think that's pretty much what I believe, and this method fits with that, for me.TM: Last month you wrote for The Millions about reading books written by the citizens of the countries you're traveling in. Did this reading prepare and/or inspire you to pen your novel? What other kinds of research, if any, did you do for this book?JS:I love doing research. Well, it's easier than writing. In the early stages the research gives me details - Michael Herr's Dispatches told me civilians in Vietnam were not liked by the military, for instance. Later, I zoom in on what I want - after I had written about an American woman married to a southern Thai Muslim, I went hunting for historical material on southern Thailand. And I found a great memoir by a tin prospector that served as the basis for another section.I'm addicted to online research. While I was writing the book, I hit Google many, many times a day, looking up the Feast of San Giuseppe in Sicily or the rules for Thai monks or the languages of Indian groups in Chiapas, Mexico.TM: I love to teach your story "My Shape" (which appears in Ideas of Heaven and was recently anthologized in the second edition of The Scribner Anthology of Contemporary Short Fiction) because it's a great example of how to tell a story in lush, detailed summary, rather than depicting it largely in scene. This pacing technique returns in The Size of the World, where you manage to capture a character's whole life (or close to that) in a single chapter. Is this is a conscious craft decision on your part? What's attractive to you about this kind of storytelling?JS: I have two somewhat contradictory impulses at this point in my life. I'm a miniaturist by nature - I love the small moment seen intensely. And I love the sweep of time passing. (In real life too, it moves me to see how people surprise themselves by where they end up.) It was a nice discovery for me to see that summary could be written as if it were scene, drawn with details. And this allowed me to get the intimacy of close narration into stories with a broader scope.I do like life-stories. The deepest ironies are in those lurching shifts people make, bit by bit.TM: The narratives in The Size of the World are all told in the first person, as are the stories in Ideas of Heaven. Can you talk a little bit about your interest in the first person? What have been its benefits and drawbacks for you?JS: I came a little late to first person - my first two books were written without it. It strikes me now (I just thought this) that, oddly enough, I came to it as I began to move further from myself. Perhaps third-person at first gave me a distance I needed, and then I needed something else. I'm always trying to capture the emotional logic of characters, what they say to themselves about what they're doing. I like the directness of hearing them sum themselves up. I'm not really trying to capture their speaking voices so much as their inner voices. The sentences are meant as translations of their thoughts.If there's a decision about whether to "style" the prose to sound historical or flavored with vernacular, I usually opt for neutral wording. So, for instance, in the chapter about Annunziata, who comes from Sicily to New Jersey, I avoided inflecting her English (she'd probably think in Sicilian anyway) but I took pains to convey her reasoning."Pains" is right. It takes a lot of trial-and-error to get the voices, especially at first. But the commenting that first-person voices can do is very handy for jumping over spans of time.TM: Ideas of Heaven was nominated for the National Book Award in 2004, and you were one of five women finalists. I was dismayed by the outcry following the nomination announcement; how did you deal with such reactions?JS: I think critics felt left out of the loop, since they'd never heard of us. (I'd heard of most of us, actually.) Their strongest objection was that we weren't famous, which we already knew. I didn't immediately think the criticism was anti-female, but after a while I came to think that some of it was. The good part was that we five got to know each other - we had dinners at my house and at Lily's and have lunched in recent times. Christine Schutt has a terrific new novel out (Kate Walbert and I were at the kick-off reading) and Lily Tuck has a biography of the writer Elsa Morante out very soon. And we all like to think that Sarah Shun-lien Bynum's daughter was named Willa and not Kimberly because of our advice.There were many good after-effects for me. A few months after the nomination, The New York Review of Books ran a great piece by Lorrie Moore, on that book and my others. What writer doesn't want that? I feel that the nomination put me on the map and is the reason I've been getting good coverage on this new book.TM: Jessica on the Written Nerd blog calls you one of the most underrated writers in America, even after your National Book Award nomination. How do you feel about such a title?JS: I was very thrilled to see what she wrote.TM And, because this is a lit blog, I must ask you: What was the last great book you read?JS: I can think of two - Colm Toibin's Mothers and Sons, a story collection, and Margot Livesey's novel, The House on Fortune Street. Toibin (whose previous book, The Master, I unexpectedly loved) packs each story with deft complexity, a resistance to the obvious, and a level of insight that is both cutting and humane. There's something beautifully startling about his work - I'm still trying to figure out how he does it. Margot Livesey's latest, The House on Fortune Street, is a novel with four interlocking parts, quite brilliantly composed. The plot has a center - there is the puzzle of a suicide to be solved - but it spins out in other directions. My judgment of various characters kept shifting and getting turned around. Especially remarkable is the nuanced treatment of a decent man with a Lewis Carroll-like attraction to young girls. A rare and original book.

Pleasures and Disturbances: Reading Abroad

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This guest post comes to us from Joan Silber. Joan Silber's most recent book is the novel, The Size of the World, described as "magnificent fiction" by Publishers' Weekly. She is the author of Ideas of Heaven, Finalist for the National Book Award and the Story Prize, and four other works of fiction, including Household Words, winner of the Hemingway Award. Her work appears in the 2007 O. Henry Prize Stories and in The Scribner Anthology of Contemporary Short Fiction, and has been in The New Yorker. You can click here to learn more about The Size of the World.I'm addicted to travel - particularly to Asia - and once I've decided where to go, the next question is: what to read? What I look for first is fiction by the country's writers. A traveler is always gazing at the windows of houses, wondering what's going on inside - I think of fiction as giving me a way in.Anyone going to Japan, India, and China has lots of novels to choose from - to Thailand and Indonesia, far fewer (Vietnam is somewhere in the middle, and Laos is off the map). This has to do with translators, money, and markets. But something can always be found.Family life unfolds in novels. For Thailand, I loved Letters from Thailand, by Botan (she only uses one name). It's actually a portrait of a Chinese family in Thailand, but it gives a full sense of how group ties work in Bangkok. For Japan, my longtime favorite is The Makioka Sisters, by Junichiro Tanizaki, an Austen-like portrayal of a family's trouble marrying off a middle sister; the social rules kept surprising me, until I came to see that the family itself (in the 1930s) is unclear about the rules. Japan is quite different now, but the book gave me a different angle on rigidities.In Laos, I was thrilled when I found, in a tiny museum shop in Vientiane, a booklet of Lao Folktales: Tales of Turtles, Tigers and Toads, collected by Steve Epstein. In one of them, three adventurous flies leave home to storm the king's plate of chicken, only to be chased by fearsome guards with fly swatters - the flies escape with new appreciation for their humble home. The joke about wry resignation in this seemed quite Lao to me later.Often, I can't help wanting the locals to see I'm hip enough to have a book by one of their writers. On a quiet beach in Lombok, the Indonesian island just east of Bali, I showed a woman vendor I was reading a novel by Pramoedya Ananta Toer, a famous writer who was banned for many years. Oh, yes, she knew his work. I was so tickled by her familiarity (on an island with limited schools) that I flashed the book again the next day. Yes, yes, I know you have it, she said. Yesterday I saw.While reading intensifies my sense of place, it also fuses with what's seen - I can't always remember what I learned from observing and what I read. (Perhaps I am like that about everything.) During my stay, reading gives me the beautiful sensation that I'm an adept in whatever's going on around me, just as reading sub-titles in a movie can convince me I know the language.I'm not above reading books by fellow foreigners, but I try to avoid those by travelers who only passed through (what do they know that I don't?) in favor of writers who've spent real time in the place. The fabulous Pico Iyer's The Lady and the Monk was a great introduction to Kyoto, and Suketu Mehta's Maximum City cracked open Mumbai in ways I never, never could have gotten to myself.But what I really love is the past. I read composer Colin McPhee's accounts of Balinese music in the 1930s, in his memoir A House in Bali, while hearing gamelan players rehearse next door to my hotel. Before I went to China, I read letters from a missionary wife in China Journal, 1889-1900, by Eva Jane Price, and began thinking about writing fiction that could draw on them. (This later became the title story in Ideas of Heaven, published by Norton in 2004). In Luoyang, a provincial city in central China, I met an older man in the square who asked if his students could practice English with me. He'd learned his very good English, it turned out, studying with missionaries from Oberlin College, direct descendants of the ones I'd read about. I was astonished - he himself thought everyone had heard of his teachers - and we corresponded for years afterward. It was very gratifying to me to send him the book, with its foil medallion saying Finalist National Book Award and thanks to him in the Acknowledgments.In Malaysia, I read Tales from the South China Seas, oral histories of the British in Malaya and Singapore, edited by Charles Allen, while taking the jungle railway up the spine of the peninsula. And these fed my next fictional project, a long narrative about Americans in southern Thailand in the 1920s. "Paradise," as the tale came to be called, also relies greatly on a 1923 memoir, Impressions of the Siamese-Malayan Jungle, by a Swiss prospector named Hans Morgenthaler. "Paradise" is now a crucial section of my current novel, The Size of the World, just released by Norton. It's a novel very much about travel, its pleasures and disturbances, and how history finds us.

The Millions Quiz: Nightstand Reader

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So that you may get to know us better, we introduce The Millions Quiz, yet another occasionally appearing series. Here, as conceived of by our contributor Emily, we answer questions about our reading habits and interests, the small details of life the like-minded folks may find illuminating, and we ask you to join us by providing your own answers in the comments.Today's Question: What's on your nightstand right now?Emily: Deciding where the nightstand stops in my dorm room is something of a quandary. And sadly, in this final dissertation push, pleasure reading is a thing of the past (Swift Studies 2006, Romanticism, Nationalism, and the Revolt Against Theory, The Chicago Manual of Style...). But among the piles that daily encroach on my bed are two recent purchases: Dover's paperback editions of Goya's print series Los Caprichos and The Disasters of War. If you haven't seen them, take a look. I hesitate to call either a pleasure, but they are, in their ways.Edan: I'm about to read The Great Man by Kate Christensen, which won the PEN/Faulkner Award this year. I enjoyed her previous novel, The Epicure's Lament, and this one, about a recently deceased painter and the women in his life, sounds like something to dive into.After that, I'm going to give Edith Wharton my attention, beginning with The Age of Innocence. I also have a galley of Joan Silber's novel, The Size of the World, the follow-up to her terrific and pleasing story collection Ideas of Heaven (which was nominated for a National Book Award).I just snagged the latest issue of Field, the poetry journal published by the Oberlin College Press, and a copy of Darcie Dennigan's debut poetry collection, Corinna A-Maying the Apocalypse. Aside from this poetry reading, I'll be steamrolling through months of unread New Yorker and Gourmet magazine issues.Garth: I seem to be having a big books problem this summer; my nightstand is about to collapse under the weight of three of them. The first is Roberto Bolano's 2666, which I'm about 600 pages into (out of 900). The second is Gertrude Stein's The Making of Americans, which I'm about 300 pages into (also out of 900)... and let's just say that, for all that she does well. Gertrude lacks the, shall we say, narrative velocity of Mr. Bolano. Finally, clocking in at over 1000 pages, I've got Joseph McElroy's Women and Men, which seems insane and brilliant and possibly unfinishable. I keep thinking there are only a finite number of gigantic books, and that once I get them out of the way I can move on, and then I learn about writers like McElroy. I'm also hoping to get to Robert A. Caro's The Power Broker this summer. Seriously. In order not to get hopelessly depressed about my rate of reading, I try to read really, really short things in between the long things. My current favorite amuse-bouche or palate-cleansers are Lydia Davis' Varieties of Disturbance and Ted Berrigan's Sonnets. It occurs to me that I may be suffering from some variety of disturbance myself. Call it gigantobibliomania.Ben: I have 18 books on my nightstand at the moment, three of which I think I'm supposed to be reviewing. Most interestingly, I have two autobiographical accounts by historians who retraced the steps of Mao's Long March. When I learned would be going to China this summer, I briefly toyed with the idea of spending a few months traveling along the route taken by the Chinese Communist Party (CCP) as they fled from the Kuomingtan. The three year journey was a harrowing race across thousands of miles of China's most unforgiving wilderness, and it would eventually go on to become the founding myth of the CCP. Its story is replete with violence and political intrigue and following in its steps while observing how China has changed in the intervening years "would make one great book," I thought. I was wrong. It has made two mediocre books. The Long March by Ed Jocelyn and The Long March by Sun ShuyunAndrew: It would appear that thirty or so books have taken up occupancy on or near my nightstand. This is where the triage happens. Every few weeks, books seem to show up, sometimes all at once, sometimes individually. Compulsive second-hand book-buyer that I am, I'm afraid I can't control the in-flow.Like an ER, this may seem to be a chaotic place, but it's functional and I give prompt attention to the book that demands to be read next. When completed, the book is transferred to the recovery area (aka the bookcases in my den), a much more orderly place. Calm. Perhaps too calm.I began M.G. Vassanji's The In-Between World of Vikram Lall a few weeks ago, then had to abruptly stop when my life took a chaotic turn, and now that calm reigns once again, I've restarted it. Up next will likely be A History of the Frankfurt Book Fair, by Peter Wiedhaas, unless some literary emergency comes in off the street.Emre: My oft-cluttered, permanently dusty nightstand is home to months-old copies of Harper's and New Yorker magazines, the occasional New York Times Magazine and four books. The books are all byproducts of articles I read in the aforementioned publications. Yet, despite the enticing reviews/mentions I find myself unable to read any of them. Top of the list is Tom Wolfe's The Bonfire of the Vanities. After reading an article about the Bronx's revival and realizing that as an adopted New Yorker with literary vices it is a sin not to have read a single Wolfe novel, I immediately picked up a used copy. Despite my best intentions to get going with it right after finishing Alexandre Dumas's The Count of Monte Cristo, I am still only some 20 pages into the book. But it remains my top priority. Kind of.I might have a commitment problem. The second book is Parag Khanna's The Second World: Empires and Influence in the New Global Order. A book review in the NYT, as well as an excerpt from the book which appeared in the Times Magazine, sounded oh so interesting and timely that the politics wonk in me returned from the depths, turning me into the four-eyed nerd that I actually am to begin reading about how global powers - U.S., EU, China - are attempting to wrest control of the Second World - a term formerly ascribed to the communist bloc, which now may be morphing to describe emerging-market and resource-rich countries. Despite its accessible, Thomas Friedman-ish language, however, I am stuck at the end of Chapter 1. I blame my job for it. Part of my work description is to read news all day. After reading the Wall Street Journal, NYT, the FT and assorted other publications all day long, I have little appetite left for politics and business. On the other hand, I do feel an urgency - as in, lest I read this in the next six months, it may be obsolete.Sharing the third spot and making for a potential good duo-read are my girlfriend's birthday presents to me: Walter Lippmann's Public Opinion and John Dewey's The Public and Its Problems. The gifts were, of course, not coincidental. They were conceived in the aftermath of a New Yorker article about the dying news industry (damn you, Huffington Post, et al.!) and born of our conversations regarding, well, the dying news industry. As conceptually interesting as Lippmann and Dewey's books are, they also fall into the realm of thought-provoking, attention-requiring books, a la The Second World, which these days is a far stretch from the TV-watching couch potato I am after work. I might have to add a new book to my nightstand. Something in the 200-300 page range that involves fiction and is a light read - as in Dr. Seuss's Oh, the Places You'll Go!-light. Any suggestions?Max: I've got just one book on my nightstand: Joshua Ferris's Then We Came to the End, which Mrs. Millions recently finished and which is waiting to be put back on the Reading Queue shelf. I've also got a teetering stack of magazines - issues of The New Yorker, The Week, and The Economist - that keep from reading my books. The book that I'm currently reading, meanwhile, is more often in the same room as me (or in my laptop bag if I'm on the go). This does make for occasional overnight stops on the nightstand.So, tell us, in the comments or on your own blog: What's on your nightstand right now?