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A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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Creating the Literary World of the Future: A Response to VIDA’s Recommendations
Not only has VIDA released its 2014 numbers, including its first count of women writers of color, but the organization has also published a handout: “Things You Can Do Right Now To Advance Women’s Writing.” The value of the VIDA count (which this year showed more improvement but also persistently low representation of women writers at some publications) has been questioned since it was first produced in 2009. All along the VIDA organizers have insisted that the numbers are intended to spark a wider discussion about why women’s perspectives are undervalued and how change can be effected. Their new list of recommendations is a tangible effort to encourage that change.
The list comprises many sensible actions, encouraging women writers to submit their work “everywhere” and readers to “buy more books by women.” At least one of the recommendations has been challenged by Phoebe Maltz Bovey at The New Republic, specifically the call to writers to “have your female characters say and do important things.” Echoing Katie Roiphe, Bovey argues that telling women they should write about “important” subjects perpetuates the problem that “the small-stakes narratives coming from female authors aren’t treated as serious literature.” Meanwhile white men are given the latitude to write about anything and are treated more seriously, whatever they write about.
Bovey is right, although I doubt the VIDA people were trying to be prescriptive about what writers write. However, her argument raises larger issues about what kind of literature we value and touches on one of the other recommendations in the handout, specifically that teachers “teach books written by diverse authors and featuring diverse characters.” As a professor of American literature who has contributed to the recovery of women writers and argued for their inclusion in the canon, I could not agree more. But it’s not that simple, for the message sent to women that what they are writing isn’t important or serious enough is not a new one. It is as old as literature itself. And its persistence has everything to do with how women’s literature is treated in college and university classrooms and, in turn, how it is treated in the literary world.
According to the VIDA website, the organization began with an email from Cate Marvin that asked, in part, “Has anyone else noticed all these incredibly accomplished women writers whose work seems to go consistently unnoticed and unrewarded by the American literary establishment?” The roots of the problem are deep, as many have indicated. Some have pointed to the largely male cadre of editors running the major magazines and thus assigning book reviews. Others to the classification of women’s literature as “chick lit,” or to its relegation to what Meg Wolitzer called, almost exactly three years ago, “The Second Shelf.”
The real issue, of course, is not the numbers, although they are important. The underlying issue is how we decide what writing has value. For so long as the lives and experiences of women and people of color are undervalued, so will their writing be.
One respondent to Wolitzer’s article called for the end to the gendering of children’s literature, for not only do boys stay away from girl’s stories, but so do “girls come to accept that boys are uninterested in stories by or about women.” The issue is complicated, of course, by many women’s desire to promote stories about girls, the “strong heroine” complex that Bovey decries. But surprisingly little discussion has taken place about how the intense gendering of children’s literature embeds gendered literary preferences in our psyches.
Another respondent to Wolitzer’s article, the literary scholar Marjorie Pryse, pointed to the persistence of all-male or nearly all-male reading lists in colleges and universities. She seems to admit that her efforts (and others’) to revise the canon to include more women and people of color have not yielded substantial results. I would agree. I hear regularly from my students that the vast majority of their literature courses include almost no women’s writing, let alone that of writers of color. One told me just last week that her Victorian literature class had only one woman on the reading list, out of 15 weeks’ worth of reading.
I suspect that my students’ experiences are not unique. Lilit Marcus wrote in a piece for Flavorwire, “[a]s an undergraduate English Lit major, I had several classes where every single author we read was male.” There is no VIDA count for academia, but D.G. Myers, a former English professor at Texas A&M and Ohio State, counted the top 25 writers most frequently cited over the past 25 years in the MLA Bibliography, the primary database of literary scholarship. There were only 5 women on the list, a fair approximation of the percentage of women writers being published and reviewed in some of the most retrograde literary magazines. What is taught and researched by academics impacts what the publishing world values as well. As one indication, Modern Library publishing company’s list of the top 100 novels of the 20th century included only nine books by women.
The understandable result of all of this, in Marcus’s words, is that “there are still many readers in the U.S. who, consciously or subconsciously, believe that men have contributed most of what we know to be literature.” And until that changes, until we collectively (and not just inside of academia) believe that women writers have produced important literature in the past, then the devaluation of women’s writing in the present will persist.
I don’t mean we should simply acknowledge that a few women have produced so-called “great” literature. We are already doing that. What I mean is discovering value in the many, many texts women writers have written since the first novel, The Tale of Genji, was written (by a woman) in the 11th century. Now I hear you saying, well sure, there may have been a lot of writing by women in the past, but it isn’t worth reading now. It was magazine filler or sentimental schlock. There was certainly plenty of that, produced by men and women. But there were hundreds of women writers producing important, significant, even great literature. Ask the dozens of scholars recovering these works and I’m sure each of them could recommend a list of women writers who deserve to be read today and valued.
My own list of largely unknown women writers whom I think deserve wider recognition includes:
Constance Fenimore Woolson (1840-1894), whose stories and novels, many of them published in Harper’s and The Atlantic Monthly, show why she was often compared to George Eliot and Henry James. Her story “Miss Grief,” about a woman writer’s frustrated attempts to gain entrance to the male-dominated literary world, should be required reading for every person interested in the VIDA count and the status of women writers today.
Rebecca Harding Davis (1831-1910), whose story “Life in the Iron Mills” is as powerful as anything Nathaniel Hawthorne wrote and is widely considered the first important Realist text in American literature.
Harriet Jacobs (1813-1897), whose slave narrative Incidents in the Life of a Slave Girl is as significant as Frederick Douglass’s more well-known narrative.
Elizabeth Stoddard (1823-1902), who has been called “next to Melville and Hawthorne, the most strikingly original voice in the mid-nineteenth-century American novel,” particularly for her complex and challenging novel The Morgesons.
Sui Sin Far (1865-1914), whose stories of Chinese immigrants, such as “Spring Fragrance,” are delightful as well as provocative.
The Sioux writer Zitkala-Ša (1876-1938), whose fascinating stories and essays, including the autobiographical “Impressions of an Indian Childhood,” show how the late-19th-century literary world provided opportunities for a diverse range of voices, not only on the margins but also in the well-respected Atlantic Monthly.
Mary Wilkins Freeman (1852-1930), whose stories, such as “The Revolt of Mother,” are finely wrought tales of thwarted lives asserting their own kind of freedom.
When my students encounter these works in my classes, they don’t question why we are reading them. Instead, they wonder why they have never heard of them before. They also learn to read differently and with different expectations.
As many have noted before me, if we look for the woman writer who wrote the equivalent of Moby Dick, we will be disappointed. We can’t expect women to have written about whaling adventures, or assume that because they didn’t, they haven’t contributed anything important to literature. To raise the value of women’s contributions doesn’t necessarily mean devaluing male canonical texts. It means simply appreciating the perspective of the other half of the population and not hiding behind the idea that only the “great” works of literature deserve to be taught, or that editors only seek to publish the “best” writing (as many of the publications exposed by the VIDA count have insisted they do).
There is much, much more to be said about how the low estimation of women’s writing of the past contributes to the devaluing of women’s writing today. But I think it’s time to begin to recognize that what happens in college classrooms today has an impact on the students, male and female, who will help to create the literary world of the future. Academia tends to assume that it has little influence on the outside world (particularly in the humanities), but there is nothing unimportant about the portrait of the literary past it presents in its classrooms.
Image Credit: Flickr/James Jordan.
A Degree in Books
In May, I graduated with my B.A. in English. This feels very strange to write in the past tense, but it’s true.
In the course of my studies, I was assigned more than 150 books, from novels to plays to biology textbooks. Perhaps it’s no surprise then that my college experience naturally breaks itself down into books read and unread, loved and hated. I remember reading The Secret History on the campus quad, sitting under a massive oak tree and thinking that this is what college should be like — all shade, dusty books, and lofty conversation, though I certainly didn’t intend to kill any of my new friends. I read selections from my Intro to Philosophy textbook in the basement of my dorm in between loads of laundry, which I had to wring out over a drain in the floor before tossing them in the dryer. I remember rushing through my assigned chapters of Moby-Dick every Sunday night before class, when I would meet with three other students and a professor to discuss symbolism. And I remember my horror when I realized exactly how long “Song of Myself” was at two in the morning. But somehow that horror is gone now, and all that’s left is the quiet joy that came from spending so much time interacting with books I otherwise might never have opened.
In these first few months after graduation, I can already feel myself pulled toward nostalgia, these stories, stresses, and loves. I am not quite ready to let them go. Although I learned from and appreciate all 150, some stand out as particularly defining. Here, in loose chronological order, are some of the most important. My degree in books, if you will.
Don Quixote - My first college assignment was to read five chapters of Don Quixote. I hurried through the chapters and immediately forgot them — the antiquated language escaping me as I read. At the end of my first week of class, I attended a lecture on Cervantes in which a brilliant professor gave a stirring speech about the value of studying the humanities and of the profound life questions Don Quixote addresses. I left feeling that studying English was a noble calling: something I could feel good about, something that would challenge and grow me. I resolved to read more slowly and carefully in the future, so that I, too, could pick out all the profound life questions present in great works and, if I were careful enough, perhaps even some of the answers. But I never finished Don Quixote. It turned out that good intentions and high callings weren’t nearly enough to get me through tangles of plot and language. I later felt grateful that I learned this early—that my first formal reading experience was a failure—because it was only by letting go of some of my grandiose expectations that I was eventually able to force myself through the grunt work of reading difficult books.
Jazz - In my second semester humanities course, I was assigned Jazz by Toni Morrison. I read it, slowly at first and then more and more quickly, until I was sitting in a tiny coffee shop on campus for three hours rushing through the last third of the novel. Jazz has a very particular kind of energy and assumes an agency of its own, and it was this agency that I felt myself responding to and trying to mimic. The narration of the novel seems to be coming from the book itself, a sense that culminates in the stirring final lines: “If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.” They address the reader directly and invite him or her to play with narration, structure, and meaning—to make and remake again and again. Reading Jazz left me feeling hollow and yet full, seeing or imagining that I saw connections between everything, past, present, and future all at once. Jazz is the first book that I truly fell in love with in college, and yet I never reread it, worried that doing so would ruin my connection with the novel and shatter the illusion of perfect storytelling. My classmates thought that I was crazy; none of them liked the novel very much at all, and several didn’t bother to finish it. Asked to identify those last few lines of the book on an exam, one friend misattributed them to The Waste Land. I teased him about this for years.
Looking back, I see that this fast-and-furious method wasn’t a very good way to read, for pleasure or for study. I swallowed all of Jazz in a gulp, rushed through with some growing sense of awe, and then put it down for good. I don’t remember it very well now, just the intense reaction it inspired. Is that enough?
I don’t think so. I wish I had quickly gone back through it, read more closely while that first emotion still lingered, and tried to better understand how the novel was working. I could have learned so much. Funny enough, I feel the same way about that first year of college. I wish I had tried better to understand what was happening, whom I was getting to know, and who I was becoming. I can’t remember what my friends and I discussed until dawn when we were first getting to know one another, or why we drew bad portraits of each other or where they went. I don’t know who lived down the hall from me or remember the name of my history professor. What did we talk about in class when we talked about Jazz? And how was it that, when I went back to Texas, life with my family felt foreign, distant from reality? Now all I have are bits of emotion with little context or cause, which is all I have left of Jazz, too.
Wide Sargasso Sea - In the spring semester of my freshman year, I was allowed to register for my first proper English class. As part of the course, I was assigned both Jane Eyre and Jean Rhys’s Wide Sargasso Sea, a postcolonial prequel to Charlotte Bronte’s novel that tells the story of Rochester’s first wife, Antoinette. I had read Jane Eyre before, twice, and wasn’t looking forward to having to go through it again; I wanted to read new books and fresh authors, not the same novels I’d been assigned in high school. But reading Wide Sargasso Sea was a turning point in my English career—a moment that I can point to and say, “There. That’s it. That changed it all.” This book taught me that it was possible to critique the classics; I didn’t have to agree with them or accept their versions of their stories. I realized that every book was leaving something out—that there was almost always some other story to explore, some angle that wasn’t at first obvious—and that looking for these would open books wider than I thought possible. I realized that reading is a political act, as is writing. I talked about the book nonstop. Although I never mentioned Wide Sargasso Sea in any major written assignment and was never graded on my understanding of the novel, its influence underwrote all my studies for the next three years.
As I Lay Dying – I was intimidated by Faulkner’s As I Lay Dying when it was first assigned, and this turned out to be an appropriate response, though I found myself swept up in the story in spite of myself. I loved and was confused by the novel in equal measure. I liked this story of a family who seemed incapable of understanding each other—driven by a common goal but also by individual desires, hopes, and despairs. I flinched when they tried to set a broken leg in concrete, and again when Dewey Dell was scammed by an unscrupulous doctor’s assistant. I squirmed when I read Addie’s dark chapter and her final words: “People to whom sin is just a matter of words, to them salvation is just words too.” I thought about how everything was words to me and worried that maybe words weren’t enough—no matter how badly I wanted them to be. I saw the book as a kind of puzzle that surely I could put together into a complete masterpiece if only I read closely enough, paid enough attention, was sensitive to subtleties, but then again, wasn’t it just words, too? How could I get beyond that?
For all of this thinking and rethinking, my class only spent a total of three hours discussing the novel. I was left with more questions than I knew how to ask and an unsettling sense that I was not even close to understanding what I had read. I asked questions of this text: How was it that Addie could speak? What happened to Dale’s mind? Why was Vardaman’s mother a fish? Why was all of this speaking and thinking and fish-ing happening together? Then, I tried to answer them on my own. I realized that maybe I wouldn’t be able to put all of the pieces and words of the story into perfect alignment ever, and maybe it was better that way. I began to learn how to accept unknowns and how to live with an imperfect knowledge of things, even as I tried to fill in the gaps of my understanding, that space behind the language.
The Rime of the Ancient Mariner - I was confused by this poem as much as I was by As I Lay Dying, though in a different way. Although the density and ambiguity of As I Lay Dying felt essential to the work, the Rime seemed to be almost careless—something that was meant to be understood and yet couldn’t be. It’s not that I couldn’t follow the storyline, but that it was impossible for me to interpret it: to fit the images and events of the poem together into something meaningful and satisfying, into a whole. I was assigned to read a collection of scholarly essays on the poem and hoped that these perspectives, which came with names like “reader response theory” and “new criticism,” would help clarify Coleridge. Maybe I didn’t have to live with ambiguity after all. But the criticism only intensified my confusion, and the jumbled arguments of the scholars added a layer of irritation to my interactions with the poem. They didn’t agree with each other, and when I could follow their arguments, I didn’t agree with them either. I began to wonder exactly what purpose literary criticism served—academics writing articles to argue with other academics while readers like me remained confused and overwhelmed. Then I learned that the poem can be sung to the tune of Gilligan’s Island. This was too much; this made no sense. I could not sing Gilligan’s Island and study psychoanalytic theory at the same time. I gave up, but I was humming the song for days.
Medieval Literature in general - I enrolled in a class called Medieval Romance. I had no idea what this meant, and I wasn’t particularly enthused about having to admit that I was studying “Romances,” but it was the only class open by the time I registered. I read Chrétien de Troyes and wrote a harsh critique of the abusive gender dynamics in Erec and Enide, paying attention, for the first time, to specific word choices and the way patterns in action could reveal underlying obsessions in the text. I discovered a talent for reading Middle English. I was assigned a romance titled Richard Coeur de Lion, in which King Richard eats the heart of a lion. I read a long French poem called "Silence," in which a woman dresses as a man, struggles with the allegorical figures of Nature and Nurture, and becomes a successful and valued knight until Merlin exposes her. I read the Gest of Robin Hood and wrote a long paper on social inequality and status inversions present in its short fyttes.
Through all of this reading, I gradually realized that these medieval writers were asking many of the same questions and struggling with many of the same social issues that I was encountering in my 21st century university. They wondered about the role of government and what made a good leader. They were curious about gender and identity, social structures, and economic inequality. And I, too, wondered about all of these things: how my world was broken and how it could be fixed. I felt more connected with history and recognized myself as part of a large and continuing stream of humanity and culture, but I also realized that I was not cut out to be a medievalist. There is no Middle English language setting in Microsoft Word, and I couldn’t stand the rows and rows of red underlining that appeared whenever I tried to type quotes from Chaucer.
Spring and All – The last semester of my junior year, I approached my Modern Literature professor about completing an additional research paper for Honors credit. She agreed and asked me what writer from our syllabus I wanted to study. I wrote her a long email requesting permission to write about Wallace Stevens because I loved what work of his I’d read and wanted to expand my formal understanding of poetry. Except that instead of typing Wallace Stevens, I got confused and typed William Carlos Williams. Too embarrassed to admit my mistake, I spent a semester studying imagist poetry and the crazed prose of Spring and All. My professor didn’t like Spring and All and couldn’t understand my supposed obsession with Williams, but she tried to be patient with me. When I cautiously offered my explanations of this text to her, she smiled. “Sometimes,” she said, “it really doesn’t mean anything, but nobody will admit it.” I agreed with her completely; no matter how many times I read it I couldn’t force the apocalyptic, manifesto-style prose and the poems about blooming flowers into any relationship that felt very convincing. This made my twelve pages much harder to write. I swore to always double-check author names before sending any more emails, and I learned about how important it is to sincerely love any work that takes more than week to complete. I also learned how to complete work and learn from research I didn’t love at all. I was told that this was good practice for life post-grad.
Sir Gawain and the Green Knight - I was assigned to read Sir Gawain and the Green Knight three separate times during college, each time in a slightly different translation. By the third reread, I began to wish that the Green Knight would just behead Gawain at the beginning of the story and let that be that. I wrote an email complaining to the dean about the sameness of the English curriculum that I never sent. My roommates bore the brunt of my wrath instead and could eventually recite the general plot of the poem without ever having picked up a copy. They loved me anyway. I decided that Sir Gawain and the Green Knight was a true test of friendship, not chivalry, and at the end of my junior year, I sold all my translations of the poem for a total of $5.
The Book of Night Women - At the beginning of my senior year, I took a class in which my professor paired contemporary books with thematically similar works written before 1900. On the first day of class, she apologized for assigning so many troubling readings and warned us that The Book of Night Women by Marlon James, which she had paired with Incidents in the Life of a Slave Girl and which we weren’t scheduled to begin for another three months, was going to be traumatic. She was right.
The Book of Night Women tells the story of Lilith, a young slave girl on an 18th century Jamaican plantation, and it is unflinching in its portrayal of violence and suffering, of the incredible variety of possible pains, and of people desperate to escape misery. It is about destruction, redemption, and the horrors that good people are capable of, but on the first read, I could only see the horror. Thirty pages into the first reading, I was shaking and nauseated, so I put the novel down for a few hours, then read another thirty pages, and stopped again. In this way, I finished the book over a long and harrowing week. It was brutal but brilliant, and I found myself admiring what James was doing in this work even as I recoiled from its violence and darkness. I worried about these characters and about my extreme sensitivity to reading their stories. I was tempted to think James was being deliberately alarming, but I knew the novel was more than that. Was James challenging 20-something, middle-class white students like myself to understand our history and the suffering it had caused? Was I too thin-skinned, or was mine exactly the response he hoped for? Or was he just telling a story in as honest a way as possible? I was reminded of Wide Sargasso Sea. Reading is political. Stories have power. When I finished the book, I cried.
During the first class period spent discussing the book, my professor joked that she should find us a group therapist. I felt tempted to press her on this. Every student in the room looked shocked, freshly sensitive, all our nerves exposed and raw. I hoped to someday write something as affecting, if different in every other way. More than this, I hoped to stay thin-skinned.
Fun Home – During my last semester, I didn’t take a single English class but instead spent the spring writing my final thesis on the works of Virginia Woolf and Alison Bechdel, particularly on the ways in which they use houses to discuss both creativity and censorship. I kept (and continue to keep) writing personal essays about houses, and I wanted to see how these masters of essay and memoir handled rooms, hallways, facades, and interiors.
Studying graphic memoirs like Bechdel’s Fun Home and Are You My Mother? turned out to be surprisingly difficult because I didn’t know how to academically describe or explain the way an image works as part of a text. I read books like The Poetics of Space and Understanding Comics in an attempt to figure this out and ultimately did a passable job, but I realized that there are whole genres, entire fields of literature, writing, and study that my formal English degree hadn’t touched. Even so, I feel confident that I have learned enough to figure the rest out in time. This is cheesy, but I feel good about it anyway, though I can’t quite bring myself to reread my final thesis.
Now that I am free from the structures of school, class, and assignments, I feel a little directionless and slightly overwhelmed. I’m not sure where to pick up my life in books, what authors or works to begin, or in what order. My current reading list has contemporary poetry on it, mostly pulled from friends’ recommendations, and some essay collections I’ve been hoarding for a while, but it also has Middlemarch and The Brothers Karamazov. I’ve never read Alice Munro or Montaigne. A friend lent me Jesus’ Son four years ago, and I’ve never read it either. Those 150 books aren’t nearly as much as I once thought they were. There is so much writing that I am completely ignorant of, and I’m excited to keep reading.
Image via Life@Naz/Flickr
Solving for X: Malcolm X and White Readers
1.
Think of classic books by black Americans, particularly those written before the Civil Rights Movement, and you’ll come up with a lot of autobiographies: Narrative of the Life of Frederick Douglass, an American Slave; Harriet Jacobs’ Incidents in the Life of a Slave Girl; Richard Wright’s Black Boy; and James Baldwin’s lightly fictionalized Go Tell It on the Mountain. There’s a good reason for this. From Frederick Douglass to Barack Obama, African Americans wanting to enter a national literary conversation dominated by white writers have first had to make the more basic assertion that their voices deserve to be heard, and for much of American history they have done that by telling their life stories. But for almost as long as African Americans have been writing autobiographies, white critics have been claiming the black authors didn’t write the books that bear their names. Early slave narratives often included phrases like “written by him/herself” in the title to reassure readers they were getting the straight story, and in the case of Incidents in the Life of a Slave Girl, some scholars mistook Jacobs’ memoir for a polemical novel written by her white editor, Lydia Maria Child.
The Autobiography of Malcolm X presents quite the opposite problem. The cover of the book states clearly that someone else – namely, Alex Haley – wrote the text, but since it was published in 1965, most readers have naturally assumed they were hearing the unfiltered voice of Malcolm X. In his new biography, Malcolm X: A Life of Reinvention, the late Manning Marable argues that “[i]n many ways, the published book is more Haley’s than its author’s.” Marable claims that Haley, a liberal Republican who favored racial integration, tempered Malcolm’s more extreme positions, particularly his anti-Semitism. In addition, Marable argues, Haley helped to idealize Malcolm, smoothing over the bumps in his sometimes rocky marriage to Betty Shabazz and skirting possible homosexual behavior in Malcolm’s past as well as an adulterous affair Marable contends may have continued right up until the last night of Malcolm’s life.
This is potent stuff for those who care about Malcolm X and his legacy. Marable’s biography, which has earned largely positive reviews from the mainstream press, has drawn blistering attacks from critics like Karl Evanzz, author of The Messenger: The Rise and Fall of Elijah Muhammad, whose review calling the Marable book “an abomination” was so incendiary it had be withdrawn from the journal that commissioned it. But whether The Autobiography represents the true testament of a martyred black icon or a sly act of ventriloquism by his more moderate collaborator, the book presents, to my mind, a more puzzling literary conundrum: how did the story of a man who for most of his adult life considered white people “devils” become a classic beloved as much by the very white readers it attacks as by the black readers it champions?
The answer no doubt has something to do with Haley, who wrote for white-owned mainstream magazines and knew how to shape his subject’s story for a white audience. But I would argue that the book’s enduring transracial appeal has far more to do with the singular journey Malcolm X takes in the Autobiography from fiery black separatist minister who describes himself as “the angriest black man in America” to a profoundly religious man gunned down by his former followers for, among other things, daring to profess that white people are not devils. This narrative arc soothes the conscience of white readers laboring under the weight of historical guilt, putting them in the novel position of rooting for a black martyr against the forces of intolerance, and more subtly, offering them a route to racial absolution. If the “angriest black man in America” no longer hates you, the book seems to say to white people, then maybe you’re not all bad.
2.
Whoever wrote it, The Autobiography of Malcolm X is a hell of a book. First, there is the story itself, which remains in its broad outlines unscathed by Marable’s scholarly sleuthing. Malcolm Little’s father, Earl, was a Baptist minister and committed black separatist in Lansing, Michigan who was cut almost in half by a runaway streetcar – whether by accident or at the hands of racist whites, no one can say for sure. After his father’s death, Malcolm’s overwhelmed mother slowly lost her grip on reality and landed in a mental institution, causing young Malcolm to quit school after the eighth grade and strike out for the East Coast, first to Boston, and then to New York’s Harlem, where he became a pimp, drug dealer, and burglar. The memoir paints an indelible portrait of 1940s Harlem where Malcolm seemed to know everyone, from musicians Sonny Greer and Billie Holiday, to colorful hustlers like West Indian Archie, a mathematical prodigy and numbers runner capable of keeping hundreds of his customers’ lottery picks in his head without resorting to pen and paper.
Ultimately, though, the most fascinating character is Malcolm himself. By his own admission, he was a feral figure during his Harlem days, operating with “a jungle mind,” scamming everyone he met to get what he needed:
I believed a man should do anything he was slick enough, or bad or bold enough, to do, and that a woman was nothing but another commodity. Every word I spoke was hip or profane. I would bet that my working vocabulary wasn’t two hundred words.
It is this attitude, borne out by the book’s descriptions of Malcolm’s hustler persona, that makes his later prison transformation so riveting. When he first arrives in prison, Malcolm is so angry and violent his fellow inmates call him “Satan,” but within months of his introduction to the Nation of Islam, he discovers both a deep religious faith and a latent intellectual passion. These passages, the famous scenes of Malcolm in his cell reading Spinoza by the dim light coming through the bars, are among the most memorable in the book – and, I would argue, offer clues to the enduring appeal of the book for educated white readers. For one thing, his metamorphosis from functional illiterate to world-class intellectual seems to confirm the liberal white piety that all poor black people lack is education, while at the same time taking the onus for providing this education away from white society. After all, the man was in prison. No special program was required, no tax dollars had to be expended to send him to college. All Malcolm needed – and in a certain kind of white reader’s mind, all any poor black man needs – is some time and a little self-motivation.
More subtly, though, the prison section draws educated readers because it offers them an unexpected emotional connection to an angry, uneducated black felon. I’m sure this is true for readers of all races, but it seems to me it’s uniquely true for whites, who, if they are anything like me, first encounter The Autobiography in college. The first time I read it, between my junior and senior years at NYU, I was myself awakening to a deep hunger for books and knowledge. I still remember sitting on the fire escape of my squalid shared apartment in Hoboken, reading the passage in which, discovering he can barely read, Malcolm assigns himself the task of copying the entire dictionary word for word. “I suppose it was inevitable that as my word-base broadened,” he writes,
I could for the first time pick up a book and read and now begin to understand what the book was saying. Anyone who has read a great deal can imagine the new world that opened. Let me tell you something: from the until I left that prison, in every free moment I had, if I was not reading in the library, I was reading on my bunk. You couldn’t have gotten me out of a book with a wedge.
This was deeply moving to me. This former ghetto hustler and thief could not have been more different from me, but he was experiencing the same intellectual transformation and feeling the same intellectual excitement that I was. It wasn’t just that I admired Malcolm in these passages. I wanted to be him. For fifty-odd pages, this white college kid from the California suburbs identified with – idealized, even – the angriest black man in America, and I’m going to guess I wasn’t alone.
There is, of course, a fundamental callowness in this. Malcolm was reading to save his very life, whereas I was reading to finish college and follow my parents into a secure white-collar profession. Still, the primal power of this emotional identification with Malcolm can’t be underestimated, because from the prison section onward readers like me aren’t just following the interesting adventures of a historical figure – we’re traveling with him. We feel his triumph as he races around the country establishing mosques for the Nation of Islam. We relish his public jousting matches against racist whites and “Uncle Thomases Ph.D.” Most importantly, we begin to see the world through his eyes. We go with him back to the Harlem streets he once knew and meet the ruin that West Indian Archie has become, a ghostly figure “in rumpled pajamas and barefooted” living a cheap rented room. And because we have come to trust Malcolm’s razor-sharp mind, we begin to draw the same conclusions that he does, that white people are to blame for this tragedy, and for the wider tragedy of black poverty in Harlem and around the nation. That most illogical of propositions – I am evil – begins, in the pages of Malcolm X’s memoir, to seem the only rational conclusion one could draw.
3.
This is why the ending, both Malcolm’s abandonment of his black separatist ideology and his eventual martyrdom, is so crucial to the story’s appeal. The great enigma of the book is Malcolm’s attachment to Elijah Muhammad, the quiet, gnomic nonentity at the head of the Nation of Islam. If Malcolm is so smart, the reader wants to know, how can he be taken in by this obvious charlatan with his cockamamie racial origin theories and his sad parade of pregnant secretaries? There is, I think, a deeply personal answer to this question. The memoir begins with the death of Earl Little, whom Malcolm both feared and idealized, and Elijah Muhammad, for all his flaws, serves as the proud black father figure Malcolm lost when he was six. But it is also true that Muhammad spoke to the darkest side of Malcolm’s rage. Muhammad’s theology, with its slapdash mix of ersatz sharia law and tent-show hokum, makes no sense at all, and his political philosophy of total disengagement from white society is a dead end. But what makes sense to Inmate “Satan” locked away in a Massachusetts state prison, is the image of white people as “blue-eyed devils” bent on destroying a once proud race of black people.
If the book had ended there, with Malcolm fulminating about “blue-eyed devils” and “so-called Negroes,” The Autobiography likely would have shared the fate of Eldridge Cleaver’s Soul on Ice, another popular 1960s memoir by a radicalized former convict, which is now little more than a museum piece. Instead, The Autobiography has sold millions of copies, inspired a major Hollywood film starring Denzel Washington, and remains even now, 46 years after its publication, a staple of college syllabi. All this, I would argue, is due to Malcolm’s final separation from the Nation of Islam.
The break with Elijah Muhammad officially followed Malcolm’s public comment that the 1963 assassination of President Kennedy was a case of “chickens coming home to roost,” but really it turned on a far more intimate matter: Muhammad, the great moral arbiter of the Nation of Islam, had impregnated a string of secretaries, including, Marable claims, one of Malcolm’s former girlfriends. Once unseated from his powerful perch in the Nation of Islam, Malcolm became The Man Who Knew Too Much, and was marked for death by his former co-religionists. His response to this betrayal displayed an almost superhuman moral courage. First, he organized a group to carry on his fight against discrimination in America, and second, he decided to take his Islamic faith seriously and make the pilgrimage to Mecca.
Malcolm X’s journey to Mecca is the stuff of legend. He completed the Hajj, the ritual visit to the most holy sites in Islamic culture, and in the days leading up to it, he was treated with respect by Arabs who, had they been Americans, would have been considered white.
That morning was when I first began to reappraise the “white man.” It was when I first began to perceive that “white man,” as commonly used, means complexion only secondarily; primarily it described attitudes and actions. In America, “white man” meant specific attitudes and actions toward the black man, and toward all other non-white men. But in the Muslim world, I had seen that men with white complexions were more genuinely brotherly than anyone else had ever been.
It is odd, to say the least, for an American in 2011 to read of devout Islam as a bastion of tolerance, and Malcolm, who knew little about the Middle East, vastly underestimates the seething tensions that have riven that part of the world for centuries. But for a white reader pre-9/11, Malcolm’s about-face on the moral capacity of white people offered an escape from the bind presented by the rest of the book. White people are not evil by nature, Malcolm now says, but become evil through social conditioning, which means that a white person can choose not to be evil.
In its content, this message is no different than the teachings of Martin Luther King and other black leaders of the period, but here it is the source that matters. Just a hundred pages earlier, when a young white woman sought Malcolm out after a speech to ask what she could do, he told her flatly, “Nothing.” Now, he says he wishes he could find that girl again and tell her what she can do, which, he emphasizes, is not to join hands with black people in the ghetto for a few rousing choruses of “We Shall Overcome.” Instead, he calls on white people to go “out on the battle lines of where America’s racism really is – and that’s in their own home communities.” This, finally, is what is so potent in the story of Malcolm X for white readers: he grants us our moral agency. He is not asking for our pity. He is not asking for our money. He is asking us, in the plainest way possible, to exercise moral courage in our own lives just as he has done in his. A few dozen pages later, when he is gunned down by Nation of Islam thugs during a speech at the Audubon Ballroom, he is, in one sense, dying in the defense of the proposition that people of all races possess that moral courage, and that if they exercise it they can change the world.
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