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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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The Lion and the Eagle: On Being Fluent in “American”
“How tame will his language sound, who would describe Niagara in language fitted for the falls at London bridge, or attempt the majesty of the Mississippi in that which was made for the Thames?” —North American Review (1815)
“In the four quarters of the globe, who reads an American book?” —Edinburgh Review (1820)
Turning from an eastern dusk and towards a western dawn, Benjamin Franklin miraculously saw a rising sun on the horizon after having done some sober demographic calculations in 1751. Not quite yet the aged, paunchy, gouty, balding raconteur of the American Revolution, but rather only the slightly paunchy, slightly gouty, slightly balding raconteur of middle-age, Franklin examined the data concerning the births, immigration, and quality of life in the English colonies by contrast to Great Britain. In his Observations Concerning the Increase of Mankind, Franklin noted that a century hence, and “the greatest Number of Englishmen will be on this Side of the Water” (while also taking time to make a number of patently racist observations about a minority group in Pennsylvania—the Germans). For the scientist and statesman, such magnitude implied inevitable conclusions about empire.
Whereas London and Manchester were fetid, crowded, stinking, chaotic, and over-populated, Philadelphia and Boston were expansive, fresh, and had room to breathe. In Britain land was at a premium, but in America there was the seemingly limitless expanse stretching towards an unimaginable West (which was, of course, already populated by people). In the verdant fecundity of the New World, Franklin imagined (as many other colonists did) that a certain “Merry Old England” that had been supplanted in Europe could once again be resurrected, a land defined by leisure and plenty for the largest number of people. Such thoughts occurred, explains Henry Nash Smith in his classic study Virgin Land: The American West as Symbol and Myth, because “the American West was nevertheless there, a physical fact of great if unknown magnitude.”
As Britain expanded into that West, Franklin argued that the empire’s ambitions should shift from the nautical to the agricultural, from the oceanic to the continental, from sea to land. Smith describes Franklin as a “far-seeing theorist who understood what a portentous role North America” might play in a future British Empire. Not yet an American, but still an Englishmen—and the gun smoke of Lexington and Concord still 24 years away—Franklin enthusiastically prophesizes in his pamphlet that “What an Accession of Power to the British Empire by Sea as well as Land!”
A decade later, and he’d write in a 1760 missive to a one Lord Kames that “I have long been of opinion, that the foundations of the future grandeur and stability of the British empire lie in America.” And so, with some patriotism as a trueborn Englishmen, Benjamin Franklin could perhaps imagine the Court of St. James transplanted to the environs of the Boston Common, the Houses of Parliament south of Manhattan’s old Dutch Wall Street, the residence of George II of Great Britain moved from Westminster to Philadelphia’s Southwest Square. After all, it was the Anglo-Irish philosopher and poet George Berkeley, writing his lyric “Verses on the Prospect of Planting Arts and Learning in America” in his Providence, Rhode Island manse, who could gush that “Westward the course of empire takes its way.”
But even if aristocrats could perhaps share Franklin’s ambitions for a British Empire that stretched from the white cliffs of Dover to San Francisco Bay (after all, christened “New Albion” by Francis Drake), the idea of moving the capital to Boston or Philadelphia seemed anathema. Smith explained that it was “asking too much of an Englishmen to look forward with pleasure to the time when London might become a provincial capital taking orders from an imperial metropolis somewhere in the interior of North America.” Besides, it was a moot point, since history would intervene. Maybe Franklin’s pamphlet was written a quarter century before, but the gun smoke of Lexington and Concord was wafting, and soon the idea of a British capital on American shores seemed an alternative history and a historical absurdity.
Something both evocative and informative, however, in this counterfactual; imagining a retinue of the Queen’s Guard processing down the neon skyscraper canyon of Broadway, or the dusk splintering off of the gold dome of the House of Lords at the crest of Beacon Hill overlooking Boston Common. Don’t mistake my enthusiasms for this line of speculation as evidence of a reactionary monarchism, I’m very happy that such a divorce happened, even if less than amicably. What does fascinate me is the way in which the cleaving of America from Britain affected how we understand each other, the ways in which we become “two nations divided by a common language,” as variously Mark Twain or George Bernard Shaw have been reported as having waggishly once uttered.
Even more than the relatively uninteresting issue that the British spell their words with too many u’s, or say weird things like “lorry” when they mean truck, or “biscuit” when they mean cookie, is the more theoretical but crucial issue of definitions of national literature. Why are American and British literature two different things if they’re mostly written in English, and how exactly do we delineate those differences? It can seem arbitrary that the supreme Anglophiles Henry James and T.S. Eliot are (technically) Americans, and their British counterparts W.H. Auden and Dylan Thomas can seem so fervently Yankee. Then there is what we do with the early folks; is the “tenth muse,” colonial poet Anne Bradstreet, British because she was born in Northampton, England, or was she American because she died in Ipswich, Mass.? Was Thomas More “American” because Utopia is in the Western Hemisphere, was Shakespeare a native because he dreamt of The Tempest? Such divisions make us question how language relates to literature, and how literature interacts with nationality, and what that says vis-à-vis the differences between Britain and America, the lion and the eagle.
A difficulty emerges in separating two national literatures that share a common tongue, and that’s because traditionally literary historians equated “nation with a tongue,” as critic William C. Spengemann writes in A New World of Words: Redefining Early American Literature, explaining how what gave French literature or German literature a semblance of “identity, coherence, and historical continuity” was that they were defined by language and not by nationality. By such logic, if Dante was an Italian writer, Jean-Jacques Rousseau a French one, and Franz Kafka a German author, then it was because those were the languages in which they wrote, despite them respectively being Swiss, Czech, and Florentine.
Americans, however, largely speak in the tongue of the country that once held dominion over the thin sliver of land that stretched from Maine to Georgia, and as far west as the Alleghenies. Thus, an unsettling conclusion has to be drawn; perhaps the nationality of Nathaniel Hawthorne, Herman Melville, and Emily Dickinson was American, but the literature they produced would be English, so that with horror we realize that Walt Whitman’s transcendent “barbaric yawp” would be growled in the Queen’s tongue. Before he brilliantly complicates that logic, Spengemann sheepishly concludes, “writings in English by Americans belong, by definition, to English literature.”
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Sometimes misattributed to linguist Noam Chomsky, it was actually the scholar of Yiddish Max Weinreich who quipped that a “language is a dialect with an army and a navy.” If that’s the case, then a national literature is the bit of territory that that army and navy police. But what happens when that language is shared by two separate armies and navies? To what nation does the resultant literature then belong? No doubt there are other countries where English is the lingua franca; all of this anxiety over the difference between British and American literature doesn’t seem so quite involved as regards British literature and its relationship to poetry and prose from Canada, Australia, or New Zealand for that matter.
Sometimes those national literatures, and especially English writing from former colonies like India and South Africa, are still folded into “British Literature.” So Alice Munro, Les Murray, Clive James, J.M. Coetzee, and Salman Rushdie could conceivably be included in anthologies or survey courses focused on “British Literature”—though they’re Canadian, Australian, South African, and Indian—where it would seem absurd to similarly include William Faulkner and Toni Morrison in the same course. Some anthologizers who are seemingly unaware that Ireland isn’t Great Britain will even include James Joyce and W.B. Yeats alongside Gerard Manley Hopkins and D.H. Lawrence as somehow transcendentally “English,” but the similar (and honestly less offensive) audacity of including Robert Lowell or Sylvia Plath as “English” writers is unthinkable.
Perhaps it’s simply a matter of shared pronunciation, the superficial similarity of accent that makes us lump Commonwealth countries (and Ireland) together as “English” literature, but something about that strict division between American and British literature seems more deliberate to me, especially since they ostensibly do share a language. An irony in that though, for as a sad and newly independent American said in 1787, “a national language answers the purpose of distinction: but we have the misfortune of speaking the same language with a nation, who, of all people in Europe, have given, and continue to give us thefewest proofs of love.”
Before embracing English, or pretending that “American” was something different than English, both the Federal Congress and several state legislatures considered making variously French, German, Greek, and Hebrew our national tongue, before wisely rejecting the idea of one preferred language. So unprecedented and so violent was the breaking of America with Britain, it did after all signal the end of the first British Empire, and so conscious was the construction of a new national identity in the following century, that it seems inevitable that these new Federalists would also declare an independence for American literature.
One way this was done, shortly after the independence of the Republic, is exemplified by the fantastically named New York Philological Society, whose 1788 charter exclaimed their founding “for the purpose of ascertaining and improving the American Tongue.” If national literatures were defined by language, and America’s language was already the inheritance of the English, well then, these brave philologists would just have to transform English into American. Historian Jill Lepore writes in A Is for American: Letters and Other Characters in the Newly United States that the society was created in the “aftermath of the bloody War for Independence” in the hope that “peacetime America would embrace language and literature and adopt…a federal, national language.”
Lepore explains the arbitrariness of national borders; their contingency in the time period that the United States was born; and the manner in which, though language is tied to nationality, such an axiom is thrust through with ambiguity, for countries are diverse of speech and the majority of a major language’s speakers historically don’t reside in the birthplace of that tongue. For the New York Philological Society, it was imperative to come up with the solution of an American tongue, to “spell and speak the same as one another, but differently from people in England.” So variable were (and are) the dialects of the United States, from the non-rhotic dropped “r” of Boston and Charleston, which in the 18th century was just developing in imitation of English merchants to the guttural, piratical swagger of Western accents in the Appalachians, that this lexicographer hoped to systematize such diversity into an unique American language. As one of those assembled scholars wrote, “Language, as well as government should be national…America should have her own distinct from all the world.” His name was Noah Webster and he intended his American Dictionary to birth an entirely new language.
It didn’t of course, even if “u” fell out of “favour.” Such was what Lepore describes as an orthographic declaration of independence, for “there iz no alternativ” as Webster would write in his reformed spelling. But if Webster’s goal was the creation of a genuine new language, he inevitably fell short, for the fiction that English and “American” are two separate tongues is as political as is the claim that Bosnian and Serbian, or Swedish and Norwegian, are different languages (or that English and Scots are the same, for that matter). British linguist David Crystal writes in The Stories of English that “The English language bird was not freed by the American manoeuvre,” his Anglophilic spelling a direct rebuke to Webster, concluding that the American speech “hopped out of one cage into another.”
Rather, the intellectual class turned towards literature itself to distinguish America from Britain, seeing in the establishment of writers who surpassed Geoffrey Chaucer or Shakespeare a national salvation. Melville, in his consideration of Hawthorne and American literature more generally, predicted in 1850 that “men not very much inferior to Shakespeare are this day born on the banks of the Ohio.” Three decades before that, and the critic Sydney Smith had a different evaluation of the former colonies and their literary merit, snarking interrogatively in the Edinburgh Review that “In the four quarters of the globe, who reads an American book?” In the estimation of the Englishmen (and Scotsmen) who defined the parameters of the tongue, Joel Barlow, Philip Freneau, Hugh Henry Brackenridge, Washington Irving, Charles Brockden Brown, and James Fenimore Cooper couldn’t compete with the sublimity of British literature.
Yet, by 2018, British critics weren’t quite as smug as Smith had been, as more than 30 authors protested the decision four years earlier to allow Americans to be considered for the prestigious Man Booker Prize. In response to the winning of the prize by George Saunders and Paul Beatty, English author Tessa Hadley told The New York Times “it’s as though we’re perceived…as only a subset of U.S. fiction, lost in its margins and eventually, this dilution of the community of writers plays out in the writing.” Who in the four corners of the globe reads an American novel? Apparently, the Man Booker committee. But Hadley wasn’t, in a manner, wrong in her appraisal. By the 21st century, British literature is just a branch of American literature. The question is how did we get here?
Only a few decades after Smith wrote his dismissal, and writers would start to prove Melville’s contention, including of course the author of Benito Cereno and Billy Bud himself. In the decade before the Civil War there was a Cambrian Explosion of American letters, as suddenly Romanticism had its last and most glorious flowering in the form of Ralph Waldo Emerson, Henry David Thoreau, Hawthorne, Melville, Emily Dickinson, and of course Walt Whitman. Such was the movement whose parameters were defined by the seminal scholar F.O. Matthiessen in his 1941 classic American Renaissance: Art and Expression in the Age of Emerson and Whitman, who included studies of all of those figures saving (unfortunately) Dickinson.
The Pasadena-born-but-Harvard-trained Matthiessen remains one of the greatest professors to ever ask his students to close-read a passage of Emerson. American Renaissance was crucial in discovering American literature as something distinct and great in its own right from British literature. Strange to think now, but for most of the 20th century the teaching of American literature was left for either history classes, or the nascent (State Department funded) discipline of American Studies. English departments, true to the very name of the field, tended to see American poetry and novels as beneath consideration in the study of “serious” literature. The general attitude of American literary scholars about their own national literature can be summed up by Victorian critic Charles F. Richardson, who, in his 1886 American Literature, opined that “If we think of Shakespeare, Bunyan, Milton, the seventeenth-century choir of lyrists, Sir. Thomas Browne, Jeremy Taylor, Addison, Swift, Dryden, Gray, Goldsmith, and the eighteenth-century novelists…what shall we say of the intrinsic worth of most of the book written on American soil?” And that was a book by an American about American literature!
On the eve of the World War II and Matthiessen approached his subject in a markedly different way, and while scholars had granted the field a respectability, American Renaissance was chief in radically altering the manner in which we thought about writing in English (or “American”). Matthiessen surveyed the diversity of the 1850s from the repressed Puritanism of Hawthorne’s The Scarlet Letter to the Pagan-Calvinist cosmopolitan nihilism of Moby-Dick and the pantheistic manual that is Thoreau’s Walden in light of the exuberant homoerotic mysticism of Whitman’s Leaves of Grass. Despite such diversity, Matthiessen concluded that the “one common denominator of my five writers…was their devotion to the possibilities of democracy." Matthiessen was thanked for his discovery of American literature by being hounded by the House Un-American Activities Committee over his left-wing politics, until the scholar jumped from the 12th floor of Boston’s Hotel Manger in 1950. The critic’s commitment to democracy was all the more poignant in light of his death, for Matthiessen understood that it’s in negotiation, diversity, and collaboration that American literature truly distinguished itself. Here was an important truth, what Spengemann explains when he argues that American literature is defined not by the language in which it is written (as with British literature), but rather “American literature had to be defined politically.”
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When considering the American Renaissance, an observer might be tempted to whisper “Westward the course of empire,” indeed. Franklin’s literal dream of an American capital to the British Empire never happened. Yet by the decade when the United States would wrench itself apart in an apocalyptic civil war, ironically America would become figurative capital of the English language. From London the energy, vitality, and creativity of the English language would move westward to Massachusetts in the twilight of Romanticism, and after a short sojourn in Harvard and Copley Squares, Concord and Amherst, it would migrate towards New York City with Whitman, which if not the capital of the English became the capital of the English language. From the 1850s onward, British literature became a regional variation of American literature, a branch on the latter’s tree, a mere phylum in its kingdom.
English literary critics of the middle part of the 19th century didn’t note this transition; arguable if British reviewers in the mid part of the 20th century did either, but if they didn’t, it’s an act of critical malpractice. For who would trade the epiphanies in ballad-meter that are the lyrics of Dickinson in favor of the arid flatulence of Alfred Lord Tennyson? Who would reject the maximalist experimentations of Melville for the reactionary nostalgia of chivalry in Walter Scott? Something ineffable crossed the Atlantic during the American Renaissance, and the old problem of how we could call American literature distinct from British since both are written in English was solved—the later is just a subset of the former.
Thus, Hadley’s fear is a reality, and has been for a while. Decades before Smith would mock the pretensions of American genius, and the English gothic novelist (and son of the first prime minister) Horace Walpole would write, in a 1774 letter to Horace Mann, that the “next Augustan age will dawn on the other side of the Atlantic. There will, perhaps, be a Thucydides at Boston, a Xenophon at New York, and, in time, a Virgil at Mexico, and an Isaac Newton at Peru. At last, some curious traveler from Lima will visit England and give a description of the ruins of St. Paul’s.” Or maybe Walpole’s curious traveler was from California, as our language’s literature has ever moved west, with Spengemann observing that if by the American Renaissance the “English-speaking world had removed from London to the eastern seaboard of the United States, carrying the stylistic capital of the language along with it…[then] Today, that center of linguistic fashion appears to reside in the vicinity of Los Angeles.” Franklin would seem to have gotten his capital, staring out onto a burnt ochre dusk over the Pacific Palisades, as westward the course of empire has deposited history in that final location of Hollywood.
John Leland writes in Hip: The History that “Three generations after Whitman and Thoreau had called for a unique national language, that language communicated through jazz, the Lost Generation and the Harlem Renaissance…American cool was being reproduced, identically, in living rooms from Paducah to Paris.” Leland concludes it was “With this voice, [that] America began to produce the popular culture that would stamp the 20th century as profoundly as the great wars.” What’s been offered by the American vernacular, by American literature as broadly constituted and including not just our letters but popular music and film as well, is a rapacious, energetic, endlessly regenerative tongue whose power is drawn not by circumscription but in its porous and absorbent ability to draw from a variety of languages that have been spoken in this land. Not just English, but languages from Algonquin to Zuni.
No one less than the great grey poet Whitman himself wrote, “We American have yet to really learn our own antecedents, and sort them, to unify them. They will be found ampler than has been supposed, and in widely different sources.” Addressed to an assembly gathered to celebrate the 333th anniversary of Santa Fe, Whitman surmised that “we tacitly abandon ourselves to the notion that our United States have been fashion’d from the British Islands only, and essentially form a second England only—which is a very great mistake.” He of the multitudinous crowd, the expansive one, the incarnation of America itself, understood better than most that the English tongue alone can never define American literature. Our literature is Huck and Jim heading out into the territories, and James Baldwin drinking coffee by the Seine; Dickinson scribbling on the backs of envelopes and Miguel Piñero at the Nuyorican Poets Café. Do I contradict myself? Very well then. Large?—of course. Contain multitudes?—absolutely.
Spengemann glories in the fact that “if American literature is literature written by Americans, then it can presumably appear in whatever language an American writer happens to use,” be it English or Choctaw, Ibo or Spanish. Rather than debating what the capital of the English language is, I advocate that there shall be no capitals. Rather than making borders between national literatures we must rip down those arbitrary and unnecessary walls. There is a national speech unique to everyone who puts pen to paper; millions of literatures for millions of speakers. How do you speak American? By speaking English. And Dutch. And French. And Yiddish. And Italian. And Hebrew. And Arabic. And Ibo. And Wolof. And Iroquois. And Navajo. And Mandarin. And Japanese. And of course, Spanish. Everything can be American literature because nothing is American literature. Its promise is not just a language, but a covenant.
Image credit: Freestock/Joanna Malinowska.
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