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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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Artistic Revolution: On China Miéville’s ‘The Last Days of New Paris’
China Miéville has been publishing speculative fiction for close to two decades, beginning with King Rat in 1998. In the course of this career he has become known as the foremost exponent of the New Weird, rivaled only by Jeff VanderMeer. VanderMeer and his wife, Ann VanderMeer, brought the existence of the fledgling subgenre to the attention of a wider reading public with The New Weird, the anthology they edited in 2008. In his introduction, VanderMeer maintains that the (Old) Weird, which is epitomized by H.P. Lovecraft and includes the likes of Arthur Machen, Algernon Blackwood, and William Hope Hodgson, is characterized by the combination of supernatural unease with visionary sensibility. By contrast, the New Weird characteristically involves the triple combination of complex urban settings, surreal or transgressive horror, and covert or overt political awareness. Miéville has prioritized the last of these in his critical work, describing the New Weird as a form of resistance against neoliberal globalization and rejecting the more inclusive definitions of the term. This concern with the political in general and the relationship between art and politics in particular is conspicuous in The Last Days of New Paris, where it receives a singularly subtle treatment.
It is difficult to avoid appreciating Miéville’s novella in one of two misleading contexts. The first is as an Axis victory alternative history along the lines of Philip K. Dick’s 1962 The Man in the High Castle or Len Deighton’s 1978 SS-GB, both of which have been released as popular television series, the former in 2015 and the latter in January of this year. The Last Days of New Paris weaves two narratives together – one set in a recognizable France of 1941 and the other in an unrecognizable Paris of 1950 -- and populates each with a mix of real and fictional people, but it does not invite one to ruminate on the possible consequences of, for example, Franklin D. Roosevelt’s assassination (Dick) or a Luftwaffe victory in the Battle of Britain (Deighton). Instead, the geopolitics that led up to and followed the “S-Blast” (presumably "surrealist blast"), the explosion that both created living manifestations of surrealist works of art and opened the gates of hell, are for the most part circumstantial. The second context, which may be related to the first, is to see the novella as a response to the global rise of nationalism, often in extreme forms, in the second decade of the 21st century. The phenomenon is no doubt of grave concern to Miéville, who is a left wing political activist, a founding member of the Left Unity political party, and a Marxist academic. His third book on Marxism, October: The Story of the Russian Revolution, is due for publication in May and has been praised for historical accuracy as well as effective storytelling. In her review in the London Review of Books, Sheila Fitzpatrick writes of Miéville’s enthusiasm for the concept of revolution, and while his history may well be an artistic call for political revolt, The Last Days of New Paris is neither a call for resistance nor a naïve allegory of art’s revolutionary power.
The novella consists of nine chapters, with the odd numbers devoted to events in the 1950 present and the even numbers to events in the 1941 past. The story is followed by an afterword and notes section and my only criticism of the work concerns the inclusion of this supplementary material. The afterword is subtitled “On Coming to Write The Last Days of New Paris” and constitutes a curious and anachronistic conceit in which Miéville claims to have met Thibaut, the fictional protagonist of 1950, and to have merely edited the manuscript passed to him. This was a common device in Victorian fiction, a hangover from the novel as a literary form derived from history rather than poetry, and was supposed to enhance narrative verisimilitude. Contemporary readers require no such faux guarantees, however, and the superfluity is exacerbated by Miéville’s reference to the sketches he has included. The only illustration inside the book is a black and white frontispiece, a reproduction of the color cover which is in turn a reproduction of the exquisite corpse (a composite drawing or collaborative collage) created by André Breton, Yves Tanguy, and Jacqueline Lamba in 1938. Miéville may be alluding to an illustrated edition that was either planned and abandoned or has yet to be published, or making a recondite joke, but the apparent slip is disconcerting for the uninitiated. The notes are explanations of the artworks referred to in the narrative and feel gratuitous in an age where reader research is almost effortless, a glimpse behind the curtain that risks debasing the magic. Miéville’s textual representations of these works are a seamless merging of the realistic with the oneiric and his expert evocation of the pervasive sense of the strange that is New Paris equips the reader with all he or she requires to experience the intense pleasure afforded by the novella.
New Paris is Paris after the S-Blast, which occurred in 1941. In Miéville’s alternative Europe, Fall Gelb (Case Yellow) -- the German drive to the Channel in May 1940 -- was sufficient to cause the collapse of France, making Fall Rot (Case Red, the push west and south the following month) unnecessary. The S-Blast transformed Paris from a city of occupation to a city of resistance, with various French factions rising up against the Germans and the “battalions from below” rising up to join the chaos. The resistance includes the Free French, led by Charles de Gaulle and backed by the United States, and the Main à plume, the surrealist irregulars, some of whom -- like Thibaut -- have been able to harness the power released by the detonation. The most significant effect of the S-Blast was not the release of hell’s minions (who show only a passing interest in the city), but to create the living manifestations of surrealist artworks, “manifs,” that roam the streets either on their own or under the less than perfect command of surrealist or SS handlers. By 1950 the Germans have sealed the city, which has become a "free-fire zone and hunting grounds for the impossible” and are attempting to destroy the resisters by all available means, including the control of manifs and devils and the creation of manifs of their own, using the work of National Socialist artists like Arno Breker. The S-Blast has of course given literal meaning to metaphors such as art coming to life, having a life of its own, and being a form of life. Similarly, this is art that wields power physically as well as through the imagination and emotions.
The Last Days of New Paris is an extraordinarily original work that foregrounds Miéville’s considerable ingenuity and innovation. The opening scene is wildly fantastic, a suicidal charge by the Vélo -- the manifestation of Leonora Carrington’s "I Am an Amateur of Velocipedes," a bicycle-woman centaur -- against the German lines. There is also a satisfyingly overdetermined symmetry in the work’s design as the onset is bookended by the appearance of "Fall Rot," a Panzer III-giant man centaur, in the first stage of the story’s tripartite climax. The symmetry is superbly complex: in the same way that science and the supernatural are the dual interests of Jack Parsons, the real-life protagonist of the 1941 narrative, so Fall Rot has been created by the combination of the biological experimentation of Josef Mengele and the perverted faith of Robert Alesch. In a further parallel, both of the plots begin with the arrival of an American on the scene, Parsons in Vichy Marseilles in 1941 and an American photojournalist named Sam in the free part of Paris in 1950. Sam is researching her own book, The Last Days of New Paris, a photographic essay-within-a-novella that pays homage to Dick’s The Grasshopper Lies Heavy novel-within-a-novel.
Miéville is too sophisticated a writer to promote a conception of art as essentially opposed to oppression and his mention of Breker and the second part of the climax (which I shall not reveal) shows that he is well aware of the variety of ends art can serve. While Breton’s surrealism provided a Marxist opposition to European fascism and American Fordism, Filippo Tommaso Marinetti’s futurism provided active and enthusiastic support for Benito Mussolini, and the fascist sympathies of many prominent modernists are well documented. Miéville is concerned with surrealism in particular over and above art more generally because movements like surrealism (and the New Weird in his own definition) resist nationalism and neoliberalism in virtue of being politico-artistic movements in the first instance. Surrealism is not an artistic movement in the service of Marxism, but a Marxist artistic movement. As such, The Last Days of New Paris calls for a revolt in art rather than a revolt in politics, for integrating politics into art rather than employing art as a means to political ends. The link from New Paris to the contemporary world comes in the perfectly-pitched anti-climax with which the narrative concludes, as Thibaut takes it upon himself to write his own book, to start “from scratch, redo history, make it mine.” In Thibaut’s return to the fray to write his revolution, Miéville urges readers to artistic revolt, to the reconception of art as essentially rather than circumstantially political and the New Weird as essentially rather than instrumentally resistant to nationalism and neoliberalism.
A Year in Reading: Bill Morris
This has been my year of reading genre-ously. There were a couple of dips into familiar but rarely visited genres – William Gibson's lackluster new science fiction novel, Zero History, and Elmore Leonard's dazzling new crime novel, Djibouti. If it was disappointing to see a gifted SF trailblazer struggling in mid-career, it was a genuine joy to see our greatest crime writer going strong as train smoke at the ripe age of 85.
But after a lifetime devoted almost exclusively to reading literary fiction, my eyes were finally opened to the boundless possibilities of genre writing by the fantasy novelist China Mieville. When I decided to take the plunge, I did something I've been wanting to do for years but had never done before: I started with Mieville's first novel, King Rat from 1998, and read his entire output in chronological order, finishing with his seventh and most recent novel, Kraken, from this year. I think Kraken is Mieville's best novel yet, and this is what I wrote about the imaginary London he conjures in it: "Like all of his worlds, it is not merely plausible, it is engrossing precisely because it demolishes old notions of plausibility and writes its own. In other words, it's an eye-opener, a revelation."
Re-reading those words, I was reminded of something Flannery O'Connor wrote about the demands placed on the writer of fantasy: "Fiction is an art that calls for the strictest attention to the real – whether the writer is writing a naturalistic story or a fantasy. I mean that we always begin with what is or with what has an eminent possibility of truth about it. Even when one writes a fantasy, reality is the proper basis of it. A thing is fantastic because it is so real, so real that it is fantastic... I would even go so far as to say that the person writing a fantasy has to be even more strictly attentive to the concrete detail than someone writing in a naturalistic vein – because the greater the story's strain on the credulity, the more convincing the properties in it have to be."
O'Connor cites Kafka's "The Metamorphosis" as a story that lives up to these high standards. I would add the seven novels of China Mieville, which are fantastic because they are so real, and so real that they are fantastic. And pure reading pleasure.
While I was writing the above, a fresh slab of genre arrived in the mail – Amos Walker: The Complete Story Collection. It was written by another Detroit crime writer, Loren D. Estleman, who is not a household name like Elmore Leonard, but deserves to be. Estleman and I have been pen pals for nearly 20 years and in that time I've read a dozen of his novels, including several built around Amos Walker, his delightfully gruff Detroit private eye. The new collection contains 33 stories and runs to 637 pages, which means I've got something to keep me warm through a long cold winter.
More from a Year in Reading 2010
Don't miss: A Year in Reading 2009, 2008, 2007, 2006, 2005
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How China Miéville Got Me to Stop Worrying and Love the Monsters
This is a story about how China Miéville opens eyes. It begins in Detroit in the 1950s with a boy who flat loves to read, who can't get enough of Dr. Seuss, the Hardy Boys, and the Flash (Marvel and Zap Comix will come much later). He reads an actual newspaper every day, and he cherishes his first library card the way kids today cherish their first iPhone. (This doesn't make him wiser or better than kids today, just luckier.) When the boy's mother enrolls him in the after-school Great Books Club, he's thrilled to discover such "grown-up" writers as Robert Louis Stevenson and Jack London, Rudyard Kipling and Arthur Conan Doyle, then Hemingway's quietly complex Nick Adams Stories.
Some 50 years later that boy is me, a writer who has spent his life reading novels and short stories that can fairly be regarded as the offspring of that Great Books Club – what some people call "literary" fiction and others call High-Brow Rot. This dutiful quest for quality has familiarized me with most of the pantheon's usual suspects, and there's certainly nothing wrong with that. But it left little time for supposedly inferior "genre" or "mainstream" fiction. Only a few things seeped through – the addictive crime novels of my fellow Detroiters Elmore Leonard and Loren D. Estleman; a few best-sellers that rose above the herd by being deeply felt and sharply written, such as Scott Turow's Presumed Innocent and Dennis Lehane's Mystic River. As for science fiction and fantasy, only select boldface masters reached me – Verne, Wells, Tolkien, Huxley, Orwell, Ballard, plus the trippy paranoia of Philip K. Dick. I've read too few contemporary poets – Philip Levine and Fred Chappell are beloved exceptions – and I've never read a western, a vampire novel, a bodice-ripper, a self-help book, a political or showbiz memoir, or a single piece of chick lit. Overall, a pretty limited roster, and on bad days I began to suspect that my high-mindedness had blinded me to whole worlds of reading pleasure.
And that, conveniently, was when China Miéville came into my life.
He was recommended by a friend who has been a life-long fan of fantasy and science fiction. I trusted her because she's smart and she made a documentary movie about William Gibson in the 1980s, when Gibson was helping forge the "cyber-punk" sub-genre of science fiction. At her urging I read Gibson's early short stories, and I was blown away by their prescience and hip wit, particularly "The Gernsback Continuum," "The Winter Market," and "Burning Chrome." To top it off, the writer who coined the term "cyberspace" didn't even own a computer. He wrote on an old manual typewriter. My kind of Luddite!
Despite the pleasant surprise of reading Gibson's short fiction and Neal Stephenson's splendid SF novel Snow Crash – what's not to love about high-tech skateboards in the service of on-time pizza delivery? – I had modest expectations when I opened China Miéville's first novel, King Rat. Published in 1998 when the author was just 26, it tells the story of a Londoner named Saul Garamond who is wrongly suspected of murdering his father. He's sprung from his police holding cell by a mysterious creature in a gray overcoat, the furtive, foul-smelling rodent of the book's title. What ensues is a mind-bending journey across London's rooftops and through its sewers as Saul learns that he's part human and part rat and therefore a vital weapon in the war against a murderous Pied Piper figure who wants to annihilate all of the city's rats and spiders. It ends with an orgy of violence at a Drum and Bass rave called Junglist Terror.
I wasn't quite sure what to make of the novel. Was it just a delicious stew of weirdness? Was it an allegory about the need for solidarity among the underclass as it fights prejudice and oppression? Whatever it was or was not, the book whetted my appetite for more.
While King Rat was a respectable debut, it barely hinted at what was coming. Perdido Street Station, published in 2000, anointed Miéville as a star of the fantasy genre – or the "New Weird" – and gave birth to a cult following. The novel is an astonishment, the work of a writer with a fecund, feverish, inexhaustible imagination, a brilliant world-maker. We are on the world of Bas-Lag, in a suppurating cesspool of a city called New Crobuzon, where humans and strange races and brutally altered convicts called Remades jostle and thieve and whore under the eye of a vicious, all-seeing militia. The city festers around the spot where the River Tar and River Canker meet to form the River Gross Tar. It's peppered with evocatively named precincts – Smog Bend, Nigh Sump, Murkside, Spatters – and rail lines emerge like an evil spider web from the titular train station.
There are human frogs called vodyanoi, half-bird half-men called garuda, green-skinned cactus people, and intelligent beetles called khepri. People get strung out on shazbah, dreamshit, quinner, and very-tea. In their midst, a rogue scientist named Isaac Dan der Grimnebulin receives an unusual commission: a garuda needs a new set of wings because his were hacked off as punishment for some obscure crime against the garuda code.
And then there's Mr. Motley, the crime boss who commissions Isaac's khepri girlfriend to immortalize him with a life-size statue fashioned from her spit. Mr. Motley is one malevolent eyeful:
Scraps of skin and fur and feathers swung as he moved; tiny limbs clutched; eyes rolled from obscure niches; antlers and protrusions of bone jutted precariously; feelers twitched and mouths glistened. Many-coloured skeins of skin collided. A cloven hoof thumped gently against the wood floor... "So," he said from one of the grinning human mouths. "Which do you think is my best side?"
Then, just when you're starting to get your bearings in this otherworldly world, Miéville brings in the slake-moths. These are flying beasts that use the pooling light on their wings to mesmerize their human prey, then proceed to suck the dreams out of their skulls, leaving behind drooling, inert zombies. For good measure, the slake-moths then spray the city with their excrement, fertilizing a plague of nightmares. A simple question comes to propel the galloping narrative: Will the humans and constructs and Remades of New Crobuzon find the will and the way to defeat the ravenous slake-moths? The answer makes for one very wild ride.
Perdido Street Station would have been a career peak for many writers, but Miéville was not yet 30 and he was just getting warmed up. In 2002 he returned to Bas-Lag with The Scar, but instead of revisiting the dank alleys of New Crobuzon he took to the high seas, where two New Crobuzon natives have been captured by pirates and sequestered on Armada, a vast floating city made of lashed-together boats, all of it dragged slowly across the world by tug boats. As they plot their escape, Bellis Coldwine, a gifted linguist, and Silas Fennec, a vaguely disreputable adventurer with curious powers, piece together the great mystery and mission of Armada: its rulers are working to raise a mythical mile-long beast from the deep, the avanc, so they can lash it to the bottom of the city and move at much greater speeds – toward... what?
Once again the fauna is irresistible: the Lovers, the autocratic couple who rule Armada and cement their bond by constantly giving each other identical scars; a Remade with octopus tentacles grafted onto his chest who gets gills cut into his neck and becomes an amphibious human; huge mosquito women who split open their prey (hogs, sheep, humans) and then suck them dry; amphibious cray who inhabit underwater cities festooned with seaweed topiary and 8-foot tall snails; a human killing machine named Uther Doul; and, of course, the monstrous avanc. Together they propel a rollicking, swashbuckling adventure.
By now my original questions were coming into focus. I realized Miéville was not writing allegories, in which things stand for something else in order to convey a deeper, unstated meaning. Miéville's humans and hybrids and monsters are not symbols; they are simply what they are, and they demand to be taken literally. This was stunning to me, and I realized it would not have worked if Miéville were not so good at creating unforgettable characters and creatures, at making sentences, at telling compelling stories. I also realized that a couple of themes run like strands of barbed wire through all the books: the dubious merits of demagogues and messiahs, and the vital importance of resisting absolute power. These are grand themes, and in Miéville's hands they help turn good books into great ones.
He expanded on these themes in Iron Council (2004), in which a group of renegade workers commandeer the construction of a railroad that is crossing the continent, crushing everything in its path in a mad quest for profit. With a civil war erupting back in New Crobuzon, the renegades succeed in traversing the uncharted, forbidding continent, ripping up the tracks behind them and re-laying them in front as they inch along, writing history. The train itself, this Iron Council, soon goes feral. It's led by Judah, a master at making golems out of dirt, corpses, air, even time, and eventually it must decide if it should return to New Crobuzon to help the revolt, or continue on its epic journey. Interrupted by a long flashback in the middle, the novel is more overtly political than its predecessors, with a subtext about the pain of unrequited love between saintly Judah and a male disciple named Cutter. It's both brutal and tender, with plenty of monsters and combat and high adventure, but fans and critics were sharply divided.
After its publication, Miéville cited Iron Council as his personal favorite among his books. It's not hard to understand why. The writing is lean, free of pyrotechnics, fearless, a sign that the writer has attained full confidence in his powers, in his characters, and in the weird world they travel through. Miéville no longer had anything to prove to himself or anyone else. What writer wouldn't revel in such liberating self-possession?
Miéville was entitled to a breather, and he took it in 2007 with Un Lun Dun, a delightful children's book that posits there are "abcities" that live alongside real ones – London has Un Lun Dun, and then there's Parisn't, No York, Lost Angeles, and others. Into Un Lun Dun come two London girls, Zanna and Deeba, lured to the abcity because, as they learn, Zanna is the much-coveted Shwazzy (a play on the French word choisi, or Chosen One), who supposedly possesses powers that will help the residents of the abcity defeat the virulent Smog. This noxious organic cloud, fed by London's pollutants, threatens to burn everything in Un Lun Dun – books, buildings, people – then inhale their smoke, increasing its size and power and knowledge until the abcity vanishes.
One of Miéville's themes – the dubious nature of messiahs – is cleverly tweaked here when it turns out that Zanna is a zero and Deeba, the unchosen one, is the true heroine. As Alice did in Wonderland, Deeba fearlessly negotiates the wondrous abcity with its donut-shaped UnSun, its flying double-decker buses, its "moil" buildings (Mildly Outdated in London) made of discarded TVs and record players, and Webminster Abbey, a church made of cobwebs. She teams up with a kindly bus conductor, a talking book, a cuddly milk carton named Curdle, and the binja, protective trash bins that know karate. Their battle against the Smog and its devious human allies draws on Miéville's twin strengths – his boundless imagination and his ability to whip a narrative into a frenzy. He even illustrated the book with deft pen-and-ink sketches.
Next came The City & the City (2009), which, though it just won the 2010 Hugo Award, strikes me as the weakest of Miéville's novels. It's essentially a noir police procedural set in a pair of intertwined cities, Beszel and Ul Qoma, which occupy the same space but never interact. Under threat of severe penalty, citizens of each city learn to "unsee" the other. Miéville is to be applauded for resisting the temptation to get too comfortable on Bas-Lag, in London or in Un Lun Dun, but for me the novel is a one-trick pony, under-worked, thin. Not everyone agreed. The novel won the Arthur C. Clarke Award and the Locus Award for best fantasy novel of 2009.
Miéville returned to London with this summer's Kraken, which is the German plural for "octopus," and a bit of a misnomer because the novel's titular creature is actually a giant squid. When it disappears mysteriously from the Natural History Museum, a curator named Billy Harrow is drawn into the police investigation and soon finds himself in the other London – a netherworld of cultists, magickers, angels, witches, stone cold killers, and some people who are trying to engineer the end of the world. One of them is a talking tattoo. Another wants to erase the achievements of Charles Darwin. More than a few people believe the giant squid is a god. The novel is Miéville's grandest achievement to date, brainy and funny and harrowing, its pages studded with finely cut gems, such as: "The street stank of fox." And: "The presence of Billy's dream was persistent, like water in his ears." And: "All buildings whisper. This one did it with drips, with the scuff of rubbish crawling in breezes, with the exhalations of concrete." This other London, Miéville writes, is "a graveyard haunted by dead faiths." Like all of his worlds, it is not merely plausible, it is engrossing precisely because it demolishes old notions of plausibility and writes its own. In other words, it's an eye-opener, a revelation.
By the time I finished reading Miéville's novels I had come to understand that what matters most about fiction is not somebody else's idea of what's great, what's good or, worse yet, what's good for you. What matters is a writer's ability to create a world that comes alive through its specifics and then leads us to universal truths. Miéville engages me with his writing because he is brilliant and because he cares about me as a reader, and this, I've come to see, is far more precious than a book's classification, its author's reputation, or the size of its audience. As the late Frank Kermode said of criticism, Miéville understands that fiction has a duty to "give pleasure."
He does this by working that fertile borderland where pulp meets the surreal. He's an equal-opportunity plunderer of the high and the low, mining not only the texts of his chosen genre, but also mythology, folklore, Kafka, children's literature, epics, comics, Melville, westerns, horror, and such contemporary pop culture totems as graffiti, body art, and Dungeons & Dragons. For all that, his worlds are surprisingly low-tech, more steam-punk than cyber-punk, which speaks loudly to the Luddite in me. People use gas lamps, typewriters, crossbows, flintlock rifles, and bulky "calculation engines." There are no spaceships, death rays, or other threadbare hardware that furnishes so much old-school SF. The one exception is a witty nod to "Star Trek" in Kraken, including some acts of teleportation. But it's the exception that proves the rule.
Best of all, Miéville's worlds are not governed by tidy morality any more than they're governed by the strictures of hard realism or hard science fiction. Virtue is not always rewarded and evil often goes unpunished, which is to say that his weird worlds have a lot in common with the world we're living in today. In fact, weirdness for Miéville is not something that exists outside reality; it's just beneath, and next to, and right behind, and inside of the everyday. "'Weird' to me," he has said, "is about the sense that reality is always weird." In the end, his fantasy novels are not about otherworldly worlds, not really. They're about the possibilities that are all around us, waiting for someone to open our eyes so we can see them. Someone with the imagination and the writing chops of China Miéville.
For him, weirdness is not an end in itself, but a means to a much higher end. He has said that his "Holy Grail" is to write the ripping good yarn that is also sociologically serious and stylistically avant-garde. The only better description I've heard of his writing came from a fan who wrote that, in Miéville's books, "Middle Earth meets Dickensian London on really good acid." Perfect.
As fine as it often is, Miéville's writing is not flawless. Especially in the early novels, over-used exclamations become tiring, such as "By Jabber!" and "godspit!" A handful of words get worn to the nub, including "judder," "drool," "thaumaturgy," and "puissance." Some predators "predate" their victims instead of preying on them. Miéville – godspit! – has been known to use "impact" as a verb, which ought to be an international crime. And like many middle-aged faces, his prose would benefit from a little tightening here and there. But these are quibbles, and they should have been addressed by a halfway competent copy editor. Besides, they're a bit like walking away from a sumptuous banquet and bitching that the shrimp weren't big enough. No writer is perfect, mercifully, but a few, like Miéville, start with a bang and just keep getting bigger and stronger and weirder and better. That's as much as any reader has a right to ask of any writer.
Word is getting out of the genre ghetto. Even the Decade-Late Desk at the New York Times gave Miéville the full treatment after the publication of Kraken – an interview in his London home that duly noted his middle-class upbringing, his shaved skull and multiple ear piercings, his degree from the London School of Economics, and his numerous literary prizes. "And," the article concluded with tepid Gray Lady praise, "his fan base has come to include reviewers outside the sci-fi establishment."
True, as far as it goes. But the Times article barely touched on what might be the most startling aspect of Miéville's career to date. Rather than trying to distance himself from the fantasy genre, he has embraced it. Another writer who has done this is Neal Stephenson. "I have so much respect for Neal on that basis," Miéville once told an interviewer. "I could kiss him. So many writers perform the Stephenson maneuver in reverse. They perform the (Margaret) Atwood – they write things that are clearly weird or in the fantastic tradition, and then they bend over backwards to try to distance themselves from genre."
Not China Miéville. Which is why I've written this mash note – to thank him for helping me see that genre books, that any books, can be great, and for teaching me to quit worrying and just kick back, relax, and realize it's totally cool to love the monsters.
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