Made in Detroit

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January Pure Wit by Francesca Peacock [NF] I first learned about the life and work of seventeenth-century writer and philosopher Margaret Cavendish in Regan Penaluna's stellar study of women thinkers, and I've been dying to read a biography of Cavendish ever since. And I'm in luck (all of us are) thanks to biographer Peacock. A proto-feminist, science-fiction pioneer, and divisive public figure, Cavendish is endlessly fascinating, and Peacock's debut gives her the rigorous, in-depth treatment that she deserves. —Sophia M. Stewart Nonfiction by Julie Myerson [F] A blurb from Rachel Cusk is just about all it takes to get me excited about a book, so when I saw that Cusk called Myerson's latest novel "glitteringly painful," "steady and clear," and "the book [Myerson] was intended to write," I was sold. A tale of art, addiction, and the ties that bind mothers and daughters, Nonfiction promises to devastate. —SMS Immediacy by Anna Kornbluh [NF] Did the pandemic kill postmodernism? And what comes after the end of history? University of Illinois–Chicago professor Kornbluh dubs our contemporary style “immediacy,” characterized by same-day delivery, bingeable multimedia, and real-time news updates that spin the economic flywheel ever faster. Kornbluh names this state of emergence and emergency, and suggests potential off-ramps in the direction of calm reflection, measured art-making, and, just maybe, collective wisdom. —Nathalie op de Beeck Slow Down by Kōhei Saitō, tr. Brian Bergstrom [NF] In this internationally-bestselling treatise, Japanese philosopher Saitō argues against "sustainable growth" in favor of degrowth—the slowing of economic activity—which he sees at the only way to address the twinned crises of inequality and climate change. Saitō's proposal is simple, salient, and adapts Marx for the modern day. —SMS Relic by Ed Simon [NF] From Millions alum Simon comes a slim study of the objects we imbue with religious (or quasi-religious) meaning, from the bone of a Catholic martyr to Jimi Hendrix's guitar pick. Bloomsbury's Object Lessons series never misses, and Relic is one of the series' most unconventional—and compelling—entries yet. —SMS Filterworld by Kyle Chayka [NF] The outline of reality has become increasingly blurry as the real world melds with the digital one, becoming what Chayka, staff writer at the New Yorker, calls “Filterworld,” a society built on a foundation of ever-evolving algorithms. In his book of the same name, Chayka calls out the all-powerful algorithm, which he argues is the driving force behind current and accelerating trends in art, consumption, and ethics. —Daniella Fishman Portrait of a Body by Julie Delporte, tr. Helge Dascher and Karen Houle [NF] A gripping narrative of coming to terms with her queer identity, Canadian cartoonist Delporte's latest graphic memoir—praised by Eileen Myles and Fariha Róisín—sees Delporte learning to embrace herself in both physical and metaphysical ways. Dreamy colored pencil illustrations and gently flowing storytelling capture the beauty, trauma, and ultimate tranquility that comes with learning to exist on your own terms. —DF Beautyland by Marie-Helene Bertino [F] In Bertino’s latest novel, following 2020's Parakeet, the launch of Voyager 1 into space coincides with the birth of Adina Giorno, who, much like the solitary satellite, is in search of something she can't yet see. As a child, she senses that she is not of this world and struggles to make a life for herself amid the drudgery of human existence. Playing on Adina's alienness as both a metaphor and a reality, Bertino asks, “Are we really alone?” —DF The Last Fire Season by Manjula Martin [NF] Martin returns ablaze in her latest memoir, pitched as "H Is for Hawk meets Joan Didion in the Pyrocene." Following an anguishing chronic pain diagnosis, Martin attempts to reconnect with her beloved Northern California wilderness in order to escape not only her deteriorating health but a deteriorating world, which has ignited around her in the worst fire season California has ever seen. Devastating and ambivalent, The Last Fire Season tries to sift through the ashes of climate change. —DF The Furies by Elizabeth Flock [NF] Violence by women—its role, its potential righteousness—is the focus of Flock's latest. Following the real-life cases of a young rape survivor in Alabama, a predator-punishing gang leader in India, and an anti-ISIS militia fighter in Syria, Flock considers how women have used lethal force as a means to power, safety, and freedom amid misogynistic threats and oppression. Is violence ever the answer? Flock looks to three parallel lives for guidance. —SMS Imagining the Method by Justin Owen Rawlins [NF] University of Tulsa professor Rawlins demystifies that most celebrated (and controversial) acting school, challenging our contemporary conceptions of screen performance. I was sold the moment I saw Rawlins received the ultimate stamp of approval from Isaac Butler, author of the definitive account of method acting: "If you care about the evolution of twentieth-century screen performance, you should read this book." —SMS We Are Free to Change the World by Lyndsey Stonebridge [NF] Famed twentieth-century philosopher and political theorist Hannah Arendt wrote passionately about power, freedom, and inequality against the backdrop of fascism—a project as relevant today as it ever was. Stonebridge, a professor of humanities and human rights, revisits the lessons of Arendt's writings and applies them to the twenty-first century, creating a dialogue between past, present, and future. —DF Walter Benjamin Stares at the Sea by C.D. Rose [F] In these 19 short stories, Rose meditates on philosophy, photography, and literature. Blending erudition and entertainment, Rose's fables follow writers, teachers, and artists through various situations—and in a standout story, imagines how St. Augustine would fare on Twitter. —DF Black Women Taught Us by Jenn M. Jackson [NF] Jackson's debut book foregrounds the work of Black feminist writers and leaders—from Ida B. Wells and Harriet Jacobs to Shirley Chisholm and bell hooks—throughout American history, revealing the centuries-long role that Black women have played in imagining and fighting for a more just society. Imani Perry calls Jackson "a beautiful writer and excellent scholar." —SMS The Bullet Swallower by Elizabeth Gonzalez James [F] Pitched as Cormac McCarthy meets Gabriel García Márquez (yeesh!), The Bullet Swallower is the second novel (after Mona at Sea) from Elizabeth Gonzalez James, who also wrote the weird and wonderful essay/play Five Conversations About Peter Sellers. Infusing the spaghetti western with magical realism, the novel follows a Mexican bandito on a cosmic journey generations in the making. —SMS Last Acts by Alexander Sammartino [F] In Sammartino's debut novel, the owner of a gun store hatches a plan to resurrect his struggling business following his son's near-death experience. George Saunders, Mary Karr, and Nana Kwame Adjei-Brenyah have all heaped on praise, and Jenny Offill finds it "hard to believe Last Acts is a first novel." —SMS I Sing to Use the Waiting by Zachary Pace [NF] Pace fuses memoir and criticism (my favorite combination) to explore the emotional and cultural impacts of women singers across time, from Cat Power and Rihanna to Kim Gordon and Whitney Houston. A queer coming-of-age story that centers the power of music and the legacies of women artists. —SMS Dead in Long Beach, California by Venita Blackburn [F] Blackburn, the author of the stellar story collections Black Jesus and Other Superheroes and How to Wrestle a Girl, delivers a debut novel about storytelling and unreality, centering on a successful novelist who gets hold of her dead brother's phone—and starts answering texts as him. Kristen Arnett calls this one "a bonafide knockout" that "rewired my brain." —SMS Everyone Who Is Gone Is Here by Jonathan Blitzer [N] New Yorker staff writer Blitzer traces the harrowing history of the humanitarian crisis at the U.S.-Mexico border, foregrounding the stories of Central American migrants whose lives have been threatened and upended by political tumult. A nuanced, layered, and rigorously reported portrait that Patrick Radden Keefe hails as "extraordinary." —SMS The Survivors of the Clotilda by Hannah Durkin [NF] Durkin, a British historian, explores the lives of 103 Africans who were kidnapped and transported on the last slave ship to dock in the U.S., shortly before the Civil War began in 1861. Many of these captives were children, and thus lived their lives against a dramatic backdrop, from the Civil War all the way up to the dawn of the Civil Rights movement. What these people experienced and how they prevailed should intrigue anybody interested in learning more about our nation’s darkest chapter. —Claire Kirch Your Utopia by Bora Chung, tr. Anton Hur [F] Following her acclaimed sophomore novel The Cursed Bunny, Chung returns with more tales from the realm of the uncanny. Covering everything from unruly AI to the quest for immortality to the environmental destruction caused by capitalism, Chung’s story collection promises more of the mystifying, horror-filled goodness that has become her calling card. —DF The Rebel's Clinic by Adam Shatz [NF] Frantz Fanon—political philosopher, psychiatrist, and author of the trailblazing Black Skin, White Masks and The Wretched of the Earth—is one of the most important writers and thinkers of the postcolonial era, and his work continues to inform contemporary thinking on race, capitalism, and power. In this sprawling biography, Shatz affirms Fanon's place as a towering intellect and groundbreaking activist. —SMS You Dreamed of Empires by Álvaro Enrigue, tr. Natasha Wimmer [F] Enrigue's latest novel, following Sudden Death, reimagines the fateful 1519 invasion of Tenochtitlan (now Mexico City) by Spanish conquistador Hernán Cortés. With exuberant style, and in a lively translation by Wimmer, Enrigue brings the Aztec capital and the emperor Moctezuma to vibrant life—and rewrites their destinies. —SMS February Love Novel by Ivana Sajko, tr. by Mima Simić [F] Croatian literature may lag behind its Russian, Hungarian, Polish, and Ukrainian counterparts—roughly in that order—as far as stateside recognition goes, but we all make mistakes. Just like couples do in love and under capitalism. “A war between kitchen and bedroom,” as the liner notes read, would have been enough to sell me, but that war’s combatants, “an unemployed Dante scholar” and “a passable actress,” really sealed the deal. —John H. Maher The Unforgivable by Cristina Campo, tr. Alex Andriesse [NF] This new NYRB edition, introduced by Kathryn Davis, brings together all of the essays Campo published in her lifetime, plus a selection of additional essays and autofiction. The result is a robust introduction to a stylish—but largely forgotten—Italian writer whose "creativity was a vocation in the truest sense," per Jhumpa Lahiri. —SMS Alphabetical Diaries by Sheila Heti [NF] Last year, I was enraptured by Heti's limited-run New York Times newsletter in which she alphabetized sentences from 10 years' worth of her diary entries—and this year, we can finally enjoy the sublime results of that experiment in book form. This is my favorite work of Heti's, full stop. —SMS Dinner on Monster Island by Tania De Rozario [NF] Blending film criticism, social commentary, and personal narrative, De Rozario (most recently the author of the Lambda Literary Award–nominated And the Walls Came Crumbling Down) explores her experience growing up queer, brown, and fat in Singapore, from suffering through a "gay-exorcism" to finding solace in horror films like Carrie. —SMS Wrong Norma by Anne Carson [NF] Everyone shut up—Anne Carson is speaking! This glistening new collection of drawings and musings from Carson is her first original work since the 2016 poetry collection Float. In Carson's own words, the collection touches on such disparate topics (she stresses they are "not linked") as Joseph Conrad, Roget's Thesaurus, snow, Guantánamo, and "my Dad." —DF Self-Portraits: Stories by Osamu Dazai, tr. Ralph McCarthy [F] Japanese writer Dazai had quite the moment in 2023, and that moment looks likely to continue into the new year. Self-Portraits is a collection of short autofiction in the signature melancholic cadence which so many Anglophone readers have come to love. Meditating on themes of hypocrisy, irony, nihilism—all with a touch of self-deprecating humor—Dazai’s work will either pull you out of a deep depression or crack your rose-colored glasses; there is no in-between. —DF Imagination by Ruha Benjamin [NF] Visionary imagination is essential for justice and a sustainable future, argues Benjamin, a Princeton professor of African American studies and founder of the Ida B. Wells Just Data Lab. In her treatise, she reminds readers of the human capacity for creativity, and she believes failures of imagination that lead to inequity can be remedied. In place of quasi-utopian gambles that widen wealth gaps and prop up the surveillance state, Benjamin recommends dreaming collective and anti-racist social arrangements into being—a message to galvanize readers of adrienne marie brown and Alexis Pauline Gumbs. —SMS Literary Theory for Robots by Dennis Yi Tenen [NF] Artificial intelligence and machine-generated writing are nothing new, and perhaps nothing to fear, argues Tenen, a Columbia English professor and former software engineer. Traveling through time and across the world, Tenen reveals the labor and collaboration behind AI, complicating the knee-jerk (and, frankly, well-founded!) reactions many of us have to programs like ChatGPT. —SMS A Sign of Her Own by Sarah Marsh [F] Alexander Graham Bell is best known as the inventor of the telephone, but what he considered his life's work was the education of deaf children—specifically, the harmful practice of oralism, or the suppression of sign language. Marsh's wonderful debut novel unearths this little-known history and follows a deaf pupil of Bell's as she questions his teachings and reclaims her voice. —SMS Get the Picture by Bianca Bosker [NF] Journalist Bosker, who took readers behind the scenes with oenophiles in her 2017 Cork Dork, turns to avid artists, collectors, and curators for this sensory deep dive. Bosker relies on experiential reporting, and her quest to understand the human passion for visual art finds her apprenticing with creators, schmoozing with galleristas, and minding canonical pieces as a museum guard. —NodB Columbo by Amelie Hastie [NF] Columbo experienced something of a renaissance during the pandemic, with a new generation falling for the rugged, irresistible charms of Peter Falk. Hastie revisits the series, a staple of 70s-era TV, with refreshing rigor and appreciation, tackling questions of stardom, authorship, and the role of television in the process. —SMS Acts of Forgiveness by Maura Cheeks [F] Cheeks's debut novel sounds amazing and so au courant. A woman is elected U.S. president and promises Black Americans that they will receive reparations if they can prove they are descended from slaves. You’d think people would jump on achieving some social justice in the form of cold cash, right? Not Willie Revel’s family, who’d rather she not delve into the family history. This promises to be a provocative read on how the past really isn’t past, no matter how much you run from it. —CK The Sentence by Matthew Baker [F] I minored in Spanish linguistics in college and, as a result, came to love that most useless and rewarding of syntactic exercises, diagramming sentences. So I'm very excited to read Baker's The Sentence, a graphic novel set in an alternate America and comprising single, 6,732-word sentence, diagrammed in full. Syntax wonks, assemble! —SMS Neighbors by Diane Oliver [F] Before her untimely death in 1966 at the age of 22, Oliver wrote stories of race and racism in Jim Crow America characterized by what Dawnie Walton calls "audacity, wit, and wisdom beyond her years." Only four of the 14 stories in Neighbors were published in Oliver's lifetime, and Jamel Brinkley calls the publication of her posthumous debut collection "an important event in African American and American letters." —SMS The Weird Sister Collection by Marisa Crawford [NF] Essayist, poet, and All Our Pretty Songs podcaster Crawford founded the Weird Sister blog in 2014, covering books and pop culture from contemporary young feminists’ and queer perspectives. The now-defunct blog offered literary reviews, Q&As with indie authors, and think pieces on film and music. For this collection, whose foreword comes from Michelle Tea, Crawford gathers favorite pieces from contributors, plus original work with a Weird Sister edge. —NodB Smoke and Ashes by Amitav Ghosh [NF] As research for his Ibis trilogy, Ghosh mapped the opium trade around the world and across centuries. This global and personal history revisits the British Empire’s dependence on Indian opium as a trade good, and how the cultivation of and profits from opium shaped today’s global economy. In his nonfiction The Great Derangement, Ghosh employs personal anecdotes to make sense of larger-scale developments, and Smoke and Ashes promises to connect his own family and identity to today’s corporate, institutional, and environmental realities. —NodB Private Equity by Carrie Sun [NF] In her debut memoir, Sun recounts her time on Wall Street, where she worked as an assistant to a billionaire hedge-fund founder and was forced to rethink everything she thought she knew about work, money, sacrifice, and living a meaningful life. This one sounds like a great read for fans of Anna Wiener's Uncanny Valley (e.g. me). —SMS I Love You So Much It's Killing Us Both by Mariah Stovall [F] When Khaki Oliver receives a letter from her estranged former best friend, she isn’t ready for the onslaught of memories that soon cause her to unravel. A Black Bildungsroman about friendship, fandom, and sanity, I Love You So Much It's Killing Us Both is an unflinching look at "what it means to be young in a hard, and nonetheless beautiful, world," per Vauhini Vara. —Liv Albright Dreaming of Ramadi in Detroit by Aisha Sabatini Sloan [NF] I know from personal experience that anything published by Graywolf Press is going to open my eyes and make me look at the world in a completely different way, so I have high expectations for Sloan’s essays. In this clever collection, a Black creative reflects upon race, art, and pedagogy, and how they relate to one’s life in this crazy country of ours during the time period between the 2016 election and the onset of the pandemic. —CK Language City by Ross Perlin [NF] Perlin travels throughout the most linguistically diverse city on the planet—New York—to chronicle the sounds and speakers of six endangered languages before they die out. A linguist and co-director of the Endangered Language Alliance, Perlin argues for the importance of little-known languages and celebrates the panoply of languages that exists in New York City. —SMS Monkey Grip by Helen Garner [F] A tale as old as time and/or patriarchal sociocultural constructs: a debut novel by a woman is published and the critics don't appreciate it—until later, at least. This proto-autofictional 1977 novel is now considered a classic of Australian "grunge lit," but at the time, it divided critics, probably because it had depictions of drug addiction and sex in it. But Lauren Groff liked it enough to write a foreword, so perhaps the second time really is the charm. —JHM Ours by Phillip B. Williams [F] A conjuror wreaks magical havoc across plantations in antebellum Arkansas and sets up a Brigadoon for the enslaved people she frees before finding that even a mystic haven isn't truly safe from the horrors of the world. What a concept! And a flexible one to boot: if this isn't adapted as a TV series, it would work just as well as an RPG. —JHM Violent Faculties by Charlotte Elsby [F] A philosophy professor influenced by the Marquis de Sade designs a series of experiments to prove its relevance as a discipline, specifically with regard to life and death, a.k.a. Philip Zimbardo (Chopped and Screwed Remix): The Novel. If you ever trusted a philosophy professor with your inner self before—and you probably shouldn't have?—you probably won't after reading this. —JHM American Abductions by Mauro Javier Cárdenas [F] Plagued by data harvesting, constant surveillance, mass deportation, and incarceration, the society at the heart of Cárdenas's new novel is less speculative dystopia than realist reflection. Channeling Philp K. Dick and Samuel Delaney, Cárdenas imagines a society where Latin Americans are systematically expunged. Following the lives of two Columbian-American sisters, one who was deported and one who stayed in the U.S., American Abduction tells a new kind of immigrant story, suffused with mysticism and philosophical rigor. —DF Closures: Heterosexuality and the American Sitcom by Grace Lavery [NF] I took Lavery's class on heterosexuality and sitcoms as an undergrad, and I'm thrilled to see the course's teachings collected in book form. Lavery argues that since its inception the sitcom has depicted heterosexuality as constantly on the verge of collapse, only to be reconstituted at the end of each half-hour episode. A fascinating argument about the cultural project of straightness. —SMS Whiskey Tender by Deborah Taffa [NF] Almost a decade in the making, this memoir from Taffa details generations of Southwest Native history and the legacies of assimilationist efforts. Taffa—a citizen of the Quechan Nation and Laguna Pueblo tribe, and director of the MFA in Creative Writing at the Institute of American Indian Arts—was born on the California Yuma reservation and grew up in Navajo territory in New Mexico in the 1970s and 1980s. She reflects on tribal identity and attitudes toward off-reservation education she learned from her parents’ and grandparents’ fraught formative experiences. —NodB Normal Women by Philippa Gregory [NF] This is exciting news for Anglophiles and history nerds like me: Philippa Gregory is moving from historical fiction (my guilty pleasure) about royal women and aristocrats in medieval and early modern England to focus on the lives of common women during that same time period, as gleaned from the scraps of information on them she has unearthed in various archives. I love history “from the bottom up” that puts women at the center, and Gregory is a compelling storyteller, so my expectations are high. —CK Blue Lard by Vladimir Sorokin, tr. Max Lawton [F] Upon its publication in 1999, Sorokin's sci-fi satire Blue Lard sparked protests across Russia. One aspect of it particularly rankled: the torrid, sexual affair it depicts between Stalin and Khruschev. All to say, the novel is bizarre, biting, and utterly irreverent. Translated into English for the first time by Lawton, Sorokin's masterwork is a must-read for anyone with an iconoclastic streak. —SMS Piglet by Lottie Hazell [F] Hazell's debut novel follows the eponymous Piglet, a successful cookbook editor identified only by her unfortunate childhood nickname, as she rethinks questions of ambition and appetite following her fiancé's betrayal. Per Marlowe Granados, Hazell writes the kind of "prose Nora Ephron would be proud of." —SMS Grief is for People by Sloane Crosley [NF] Crosley enlivens the grief memoir genre with the signature sense of humor that helped put her on the literary map. In Grief Is for People, she eulogizes the quirks and complexities of her friendship with Russell Perreault, former publicity director at Vintage Books, who died by suicide in 2019. Dani Shapiro hails Crosley’s memoir—her first full-length book of nonfiction—as “both a provocation and a balm to the soul.” —LA The Freaks Came Out to Write by Tricia Romano [NF] The freaks came out to write, and you better believe the freaks will come out in droves to read! In this history of the legendary alt-weekly the Village Voice, Romano (a former writer for the Voice) interviews some 200 members the paper’s most esteemed staff and subjects. A sweeping chronicle of the most exciting era in New York City journalism promises to galvanize burgeoning writers in the deflating age of digital media. —DF Burn Book by Kara Swisher [NF] Swisher has been reporting on the tech industry for 30 years, tracing its explosive growth from the dawn of the internet to the advent of AI. She's interviewed every tech titan alive and has chronicled their foibles and failures in excruciating detail. Her new book combines memoir and reportage to tell a comprehensive history of a troubled industry and its shortsighted leaders. —SMS Wandering Stars by Tommy Orange [F] Orange returns with a poignant multi-generational tale that follows the Bear Shield-Red Feather family as they struggle to combat racist violence. Picking up where Orange's hit debut novel, There There, left off, Wandering Stars explores memory, inheritance, and identity through the lens of Native American life and history. Per Louise Erdrich, “No one knows how to express tenderness and yearning like Tommy Orange." —LA March The Hearing Test by Eliza Barry Callahan [F] Callahan's debut novel follows a young artist as she faces sudden hearing loss, forcing to reevaluate her orientation to her senses, her art, and the world around her. Amina Cain, Moyra Davey, and Kate Zambreno are all fans (also a dream blunt rotation), with the latter recommending this one be "read alongside the novels of W.G. Sebald, Rachel Cusk, and Maria Gainza." —SMS The Extinction of Irena Rey by Jennifer Croft [F] When a group of translators arrive at the home of renowned novelist Irena Rey, they expect to get to work translating her latest book—instead, they get caught up in an all-consuming mystery. Irena vanishes shortly after the translators arrive, and as they search for clues to the author's disappearance, the group is swept up by isolation-fueled psychosis and obsession. A “mischievous and intellectually provocative” debut novel, per Megha Majumdar. —LA Thirst by Marina Yuszczuk, tr. Heather Cleary [F] This isn’t your typical meet-cute. When two women—one grieving, the other a vampire, both of them alienated and yearning for more—cross paths in a Buenos Aires cemetery, romance blooms. Channelling Carmen Maria Machado and Anne Rice, Yuszczuk reimagines the vampire novel, with a distinctly Latin American feminist Gothic twist. —LA The Great Divide by Cristina Henríquez [F] I'm a sucker for meticulously researched and well-written historical fiction, and this one—a sweeping story about the interconnected lives of the unsung people who lived and labored at the site of the Panama Canal—fits the bill. I heard Henríquez speak about this novel and her writing processes at a booksellers conference, and, like the 300 booksellers present, was impressed by her presentation and fascinated at the idea of such a sweeping tale set against a backdrop so larger-than-life and dramatic as the construction of the Panama Canal. —CK Bite Your Friends by Fernanda Eberstadt [NF] Melding memoir and history, Eberstadt's Bite Your Friends looks at the lives of saints, philosophers, and artists—including the author and her mother—whose abberant bodies became sites of subversion and rebellion. From Diogenes to Pussy Riot, Eberstadt asks what it means to put our bodies on the line, and how our bodies can liberate us. —SMS Anita de Monte Laughs Last by Xochitl Gonzalez [F] When Raquel Toro, an art history student, stumbles on the story of Anita de Monte, a once prominent artist from the '80s whose mysterious death cut short her meteoric rise, her world is turned upside down. Gonzalez's sophomore novel (after her hit debut Olga Dies Dreaming) toggles between the perspectives of Raquel and Anita (who is based on the late Ana Mendieta) to explore questions of power, justice, race, beauty, and art. Robert Jones, Jr. calls this one "rollicking, melodic, tender, and true—and oh so very wise." —LA My Heavenly Favorite by Lucas Rijneveld, tr. Michele Hutchison [F] Rijneveld, author of the International Booker Prize-winning novel The Discomfort of Evening, returns with a new take on the Lolita story, transpiring between a veterinarian and a farmer's daughter on the verge of adolescence. "This book unsettled me even as it made me laugh and gasp," gushes Brandon Taylor. "I'm in awe." Radiant by Brad Gooch [NF] Lauded biographer Gooch propels us through Keith Haring’s early days as an anonymous sidewalk chalk artist to his ascent as a vigilante muralist, pop-art savant, AIDS activist, and pop-culture icon. Fans of Haring's will not want to miss this definitive account of the artist's life, which Pulitzer-winner biographer Stacy Schiff calls "a keen-eyed, beautifully written biography, atmospheric, exuberant, and as radiant as they come." —DF The Riddles of the Sphinx by Anna Shechtman [NF] Sometimes you encounter a book that seems to have been written specifically for you; this was the feeling I had when I first saw the deal announcement for Shechtman's debut book back in January 2022. A feminist history of the crossword puzzle? Are you kidding me? I'm as passionate a cruciverbalist as I am a feminist, so you can imagine how ravenously I read this book. The Riddles of the Sphinx is one of the best books of 2024, hands down, and I can't wait for everyone else—puzzlers and laymen alike—to fall in love with it too. —SMS The Silver Bone by Andrey Kurkov, tr. Boris Drayluk [F] Kurkov is one of Ukraine's most celebrated novelists, and his latest book is a murder mystery set against the backdrop of WWI-era Kyiv. I'll admit what particularly excites me about The Silver Bone, though, is that it is translated by Dralyuk, who's one of the best literary translators working today (not to mention a superb writer, editor, and poet). In Drayluk's hands, Kurkov's signature humor and sparkling style come alive. —SMS Feeding Ghosts by Tessa Hulls [NF] This multigenerational graphic memoir follows Hull, alongside her mother and grandmother, both of whom hail from China, across time and space as the delicate line between nature and nurture is strained by the forces of trauma, duty, and mental illness. Manjula Martin calls Feeding Ghosts “one of the best stories I’ve read about the tension between family, history, and self.” —DF It Lasts Forever and Then It's Over by Anne de Marcken [F] Haunting prose and a pithy crow guide readers through Marcken's novel of life after death. In a realm between reality and eternity, the undead traverse westward through their end-of-life highlight reel, dissecting memories, feelings, and devotions while slowly coming to terms with what it means to have lived once all that remains is love. Alexandra Kleeman admits that she "was absolute putty in this book's hands." —DF Parasol Against the Axe by Helen Oyeyemi [F] When I visited Prague, a year after the 1989 Velvet Revolution, the Czech capital struck me as a magical place, where anything is possible, and Oyeyemi captures the essence of Prague in Parasol Against the Axe, the story of a woman who attends her estranged friend's bachelorette weekend in the city. A tale in which reality constantly shifts for the characters and there is a thin line between the factual and the imagined in their relationships, this is definitely my kind of a read. —CK Say Hello to My Little Friend by Jennine Capó Crucet [F] Crucet's latest novel centers on a failed Pitbull impersonator who embarks on a quest to turn himself into a modern-day Tony Montana—a quest that leads him to cross paths with Lolita, a captive orca at the Miami Seaquariam. Winking at both Scarface and Moby-Dick, Say Hello to My Little Friend is "a masterclass in pace and precision," per Nana Kwame Adjei-Brenyah. —SMS But the Girl by Jessica Zhan Mei Yu [F] Girl, a Malaysian-Australian who leaves home for the U.K. to study Sylvia Plath and write a postcolonial novel, finds herself unable to shake home—or to figure out what a "postcolonial novel" even is. Blurbs are untrustworthy, but anything blurbed by Brandon Taylor is almost certainly worth checking out. —JHM Wrong Is Not My Name by Erica N. Cardwell [NF] Cardwell blends memoir, criticism, and theory to place her own Künstlerroman in conversation with the work of Black visual artists like Lorna Simpson, Lorraine O'Grady, and Kara Walker. In interconnected essays, Cardwell celebrates the brilliant Black women who use art and storytelling to claim their place in the world. —SMS Great Expectations by Vinson Cunningham [F] A theater critic at the New Yorker, Cunningham is one of my favorite writers working today, so I was thrilled to learn of his debut novel, which cheekily steals its title from the Dickens classic. Following a young Black man as he works on a historic presidential campaign, Great Expectations tackles questions of politics, race, religion, and family with Cunningham's characteristic poise and insight. —SMS The Future of Songwriting by Kristin Hersh [NF] In this slim volume, Throwing Muses frontwoman and singer-songwriter Hersh considers the future of her craft. Talking to friends and colleagues, visiting museums and acupuncturists, Hersh threads together eclectic perspectives on how songs get made and how the music industry can (and should) change. —SMS You Get What You Pay For by Morgan Parker [NF] Parker, a brilliant poet and author of the stellar There Are More Beautiful Things Than Beyonce, debuts as an essayist with this candid, keen-eyed collection about life as a Black woman in America. Casting her gaze both inward and onto popular culture, Parker sees everything and holds back nothing. —SMS Mother Doll by Katya Apekina [F] Following up her debut novel, The Deeper the Water, the Uglier the Fish, Apekina's Mother Doll follows Zhenia, an expectant mother adrift in Los Angeles whose world is rocked by a strange call from a psychic medium with a message from Zhenia's Russian Revolutionary great-grandmother. Elif Batuman calls this one "a rare achivement." —SMS Solidarity by Astra Taylor and Leah Hunt-Hendrix [NF] What does "solidarity" mean in a stratified society and fractured world? Organizers and activists Hunt-Hendrix and Taylor look at the history of the concept—from its origins in Ancient Rome to its invocation during the Black Live Matter movement—to envision a future in which calls for solidarity can produce tangible political change. —SMS The Manicurist's Daughter by Susan Lieu [NF] After her mother, a refugee of the Vietnam war and the owner of two nail salons, dies from a botched cosmetic surgery, Lieu goes looking for answers about her mother's mysterious life and untimely death. Springing from her hit one-woman show 140 LBS: How Beauty Killed My Mother, Lieu's debut memoir explores immigration, beauty, and the American Dream. —SMS Through the Night Like a Snake ed. Sarah Coolidge [F] There's no horror quite like Latin American horror, as any revering reader of Cristina Rivera Garza—is there any other kind?—could tell you. Two Lines Press consistently puts out some of the best literature in translation that one can come by in the U.S., and this story collection looks like another banger. —JHM Headshot by Rita Bullwinkel [F] Bullwinkel's debut collection, Belly Up, was a canful of the uncanny. Her debut novel, on the other hand, sounds gritty and grounded, following the stories of eight teenage girls boxing in a tournament in Reno. Boxing stories often manage to punch above their weight (sorry) in pretty much any medium, even if you're not versed enough in the sport to know how hackneyed and clichéd that previous clause's idiomatic usage was. —JHM Choose This Now by Nicole Haroutunian [F] Haroutunian's novel-in-stories, part of Noemi Press's Prose Series, follows a pair of inseparable friends over the years as they embark on careers, make art, fall in and out of love, and become mothers. Lydia Kiesling calls this one "a sparkling, intimate look at women's lives" that makes "for a lovely reading experience." —SMS Death by Laughter by Maggie Hennefeld [NF] Hennefeld's scholarly study explores the forgotten history and politics of women's "hysterical laughter," drawing on silent films, affect theory, feminist film theory, and more. Hennefeld, a professor of cultural studies and comparative literature, offers a unique take on women's pleasure and repression—and how the advent of cinema allowed women to laugh as never before. —SMS James by Percival Everett [F] In James, the once-secondary character of The Adventures of Huckleberry Finn narrates his version of life on the Mississippi. Jim, who escapes enslavement only to end up in adventures with white runaway Huck, gives his account of well-known events from Mark Twain’s 1880s novel (and departs from the record to say what happened next). Everett makes readers hyperaware of code-switching—his 2001 novel Erasure was about a Black novelist whose career skyrockets when he doubles down on cynical stereotypes of Blackness—and Jim, in James, will have readers talking about written vernacular, self-awareness, and autonomy. —NodB A Chance Meeting by Rachel Cohen [NF] Chronicling 36 fateful encounters among 30 writers and artists—from Henry James to Gertrude Stein, Mark Twain to Zora Neal Hurston—Cohen paints a vast and sparkling portrait of a century's worth of American culture. First published in 2004, and reissued by NYRB, A Chance Meeting captures the spark of artistic serendipity, and the revived edition features a new afterword by the author. —SMS Who's Afraid of Gender? by Judith Butler [NF] Butler has had an outsized impact on how we think and talk about gender and sexuality ever since the 1990 publication of Gender Trouble, which theorized the way gender is performed and constructed. Butler's latest is a polemic that takes on the advent of "anti-gender ideology movements," arguing that "gender" has become a bogeyman for authoritarian regimes. —SMS Green Frog by Gina Chung [F] Chung, author of the acclaimed debut novel Sea Change, returns with a story collection about daughters and ghosts, divorcees and demons, praying mantises and the titular verdant amphibians. Morgan Talty calls these 15 stories "remarkable." —SMS No Judgment by Lauren Oyler [NF] Oyler is one of our sharpest and most fearless cultural critics, and No Judgement is her first essay collection, following up her debut novel Fake Accounts. Opining on gossip and anxiety, autofiction and vulnerability, and much, much more, Oyler's caustic wit and penetrating voice shine through every essay. —SMS Memory Piece by Lisa Ko [F] Following up her National Book Award–nominated debut novel The Leavers, Ko's latest follows three lifelong friends from the 1990s to the 2040s. A meditation on the meaning of a "meaningful life" and how to adapt to an increasingly inhospitable world, Memory Piece has earned praise from Jacqueline Woodson and C Pam Zhang, who calls the novel "bright with defiance, intelligence, and stubborn love." —SMS On Giving Up by Adam Phillips [NF] Psychoanalyst Phillips—whose previous subjects include getting better, wanting to change, and missing out—takes a swing at what feels like a particularly timely impulse: giving up. Questioning our notions of sacrifice and agency, Phillips asks when giving up might be beneficial to us, and which parts of our lives might actually be worth giving up. —SMS There's Always This Year by Hanif Abdurraqib [NF] Abdurraqib returns (how lucky are we!) with a reflection on his lifelong love of basketball and how it's shaped him. While reconsidering his childhood, his relationship with his father, and the meaning of "making it," Abdurraqib delivers what Shea Serrano calls "the sharpest, most insightful, most poignant writing of his career." —SMS The Angel of Indian Lake by Stephen Graham Jones [F] The final installment of Jones's trilogy picks up four years after Don't Fear the Reaper. Jade Daniels is back from prison, and upon her release, she encounters serial killer-worshipping cults, the devastating effects of gentrification, and—worst of all—the curse of the Lake Witch. Horror maestro Brian Keene calls Jones's grand finale "an easy contender for Best of the Year." —LA Worry by Alexandra Tanner [F] This deadpan debut novel from Tanner follows two sisters on the cusp of adulthood as they struggle to figure out what the hell to do with their lives. Heads butt, tempers flare, and existential dread creeps in as their paths diverge amid the backdrop of Brooklyn in 2019. Limning the absurdity of our internet-addled, dread-filled moment, Tanner establishes herself as a formidable novelist, with Kiley Reid calling Worry "the best thing I've read in a very long time." —DF [millions_email]

The Past Will Never Be Past: On A Detroit Anthology

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Through a horrific half-century of decline, Detroit has become one of the most blighted cities in America. It has also become one of the most misunderstood -- a victim of misread history, media clichés, self-serving racial rhetoric, corporate and political indifference, and crime and corruption that can still get downright rococo. But lately there have been encouraging signs that people are starting to get Detroit, a necessary first step if the hoped-for renaissance is to take place. Not only do these people understand what the city means and what happened to it, but they’re able to believe that the city has a future beyond bankruptcy, abandonment, and physical decay. There is not a Pollyanna or a Romantic in this crowd. Nor is there anyone willing to succumb to despair. They’re a reminder that Detroiters are, first and last, survivors. One of the freshest of these voices belongs to Mark Binelli, a native Detroiter whose 2012 book, Detroit City Is the Place to Be: The Afterlife of an American Metropolis, debunked many of the myths about the city’s past while offering a clear-eyed assessment of its current disarray and future prospects. No, Binelli points out, the 1967 riot -- or rebellion, depending on your political persuasion -- did not start white flight. And no, Mayor Coleman Young did not singlehandedly bring the city to its knees any more than a handful of white hipsters are going to singlehandedly get it back on its feet. Considerably darker, but also free of worn-out assumptions, was Charlie LeDuff’s Detroit: An American Autopsy from 2013, which didn’t hesitate to pick at the city’s abundant scabs, but also offered strangely heart-warming truths like this: “Detroit is full of good people who know what pain is.” Then there was Paul Clemens’s 2005 memoir, Made In Detroit, which tells what it was like to grow up white in a city that became predominantly black in 1973, the year Clemens was born, the year Young was elected the city’s first black mayor. Among the book’s many insights is that Detroit has always been a raw place, no matter what color your skin happens to be or who happens to be in charge. He invokes Louis-Ferdinand Céline’s Journey to the End of the Night: “After leaving behind World War I battlefields, Paris slums, and malarial African jungles, Céline’s restless narrator makes his way to the Motor City, to work in the Ford factory. At the beginning of the first Detroit chapter, he says, in an observation yet to be improved upon: ‘It was even worse than everywhere else.’” And that was in the 1920s, when the city was booming. The latest addition to this growing body of wised-up writing is a scintillating new collection called A Detroit Anthology, published by Rust Belt Chic Press (which has also brought out companion volumes about Cleveland and Cincinnati). It’s a lively stew of reportage, poetry, memoir, photography, personal essays, and fictionalized observation. There is no cheap nostalgia or breathless boosterism. There are remarkably few mentions of cars, but plenty of talk about sports, race, families, neighborhoods, music, and history. In fact, the book’s greatest strength is the various ways the contributors acknowledge that understanding Detroit’s history is the key to understanding its current condition and its possible ways forward. In Detroit, more than most places, the past will never be past. This is brought home in Steven Pomerantz’s essay, “Fort Gratiot,” the heart-breaking story about the hardware store his father and uncle, the sons of immigrant Russian Jews, ran on the city’s east side from 1948 to 1979 -- years that neatly bookend the city’s peak and its slide. Pomerantz writes knowingly about the symbiosis of Jewish merchants and their black customers in the inner-city, a dance as old and itchy as America itself: This much everybody understood, and it formed the basis for an uneasy alliance -- they needed each other too much to let their mutual dislike get in the way. But as always in these types of things, it was more complicated than that. The neighborhood black community was made up of my father’s friends and enemies. They were the source of his livelihood and the bane of his existence. When flames and rage engulfed the city in July of 1967, many black merchants spray-painted badges on their buildings -- SOUL BROTHER and AFRO ALL THE WAY -- in the hope that arsonists would pass them by. Sometimes they did, sometimes they didn’t. In any event, the Jewish hardware store on Gratiot remained untouched, for reasons that will never be known. “My father attributed this to his good relations with the black community,” Pomerantz writes, “but it could have been just dumb luck.” In a bitter irony, the business failed not because of racism or crime or white flight, but because Pomerantz’s uncle spent years embezzling money from his own brother. This book also offers many small grace notes as counterpoints to such big moments. The essay “Turner Ronald Carter the Third” by Kat Harrison is a touching story about a black girl’s awakening to the shocking realization that a white playmate regards her as inferior. This hits home the day the boy, always friendly, marches onto her front yard, unzips his pants, urinates on the shrubbery, then runs home without a word. “In later years, my musings about Turner’s defiant and deviant act led me to think that he was the weapon his parents used to register their displeasure with the arrival of unwanted colored neighbors,” Harrison writes. “How sad and cowardly it was to use a child to insult another child, neither of whom could have possibly understood the motivations and bigger issues at play.” In “Awakening,” Maisha Hyman Sumbry is rescued from the boredom of waiting for the school bus by a magical blast of Run-DMC, courtesy of a passing Dodge Charger with a powerful sound system. And in “Playing Ball,” J.M. Leija explains her love for her hometown Tigers this way: “The people, the city, it’s all just a little bit easier when we’re playing ball.” The contributors to A Detroit Anthology range from first-time authors to seasoned professionals, which gives the collection its free-wheeling, anything-goes feel. But it’s not flawless. In the essay “I’m From Detroit,” Shannon Shelton Miller writes scornfully about how suburbanites (that is, white people) know virtually nothing about the city or the people who live there (that is, black people). There’s some truth to the point, but it’s part of the tired old merry-go-round that helped bring Detroit low in the first place. It comes out of territoriality, provincialism, tribalism. It’s about us vs. them, and in Detroit there’s an almost laughable abundance of such dividing lines: city vs. suburbs; black vs. white; labor vs. management; Republican vs. Democrat; foreign vs. domestic; even west side vs. east side. To Miller’s way of thinking, 8 Mile Road is the great line in the sand, the DMZ between the city and its northern suburbs, between the courageous few who chose to stay and the multitudes who opted to flee. But as Steven Pomerantz knows, it’s more complicated than that. I have lived north of 8 Mile and I have lived south of 8 Mile – I have lived all over the world, for that matter – and I can report that vice and virtue have nothing to do with geography or race. Zip codes and skin color confer nothing. This harping on geography -- and its subtexts -- reminds me of a common encounter I had when I lived in the South. When Southerners heard my flat Midwestern accent -- no syrup, no drawl -- they often asked a question that was not altogether friendly: “Where you from, anyway?” The subtext was obvious: You’re not one of us, so you’re automatically suspect. Asking me where I was from was the wrong question. The right question would have been: What are you made of? Or better yet: What’s in your heart? But “I’m From Detroit” is a rare misstep. The consistently high tone of A Detroit Anthology can be credited to Anna Clark, the book’s editor, who grew up in western Michigan and has lived in Detroit since 2007, working as a freelance journalist. “There’s a lot of misunderstanding about who lives here, what happens and what doesn’t happen here,” Clark told me in a telephone interview. “But the thing I wanted to do with this anthology was get past the stance that we’re going to explain this city. I wanted to get the candid conversations Detroiters have with other Detroiters -- diverse and true and candid conversations people have at a dinner table or in a bar.” By that measure, the book is a thrilling success. It gives voice to people who now live or once lived in this fascinating, tortured place, the survivors, good people who know what pain is, people who understand that the city exerts an undying pull on them. Or as Philip Levine, the great poet of Detroit, once put it, Detroiters are people “who live at all cost and come back for more, and who if they bore tattoos -- a gesture they don’t need -- would have them say, ‘Don’t tread on me’ or ‘Once more with feeling’ or “No pasarán’ or ‘Not this pig.’”

Dominique Morisseau’s 20/20 Vision of Detroit

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[caption id="attachment_52541" align="aligncenter" width="570"] Samantha Soule, De'Adre Aziza, and Michelle Wilson in the Public Lab production Detroit '67, written by Dominique Morisseau and directed by Kwame Kwei-Armah, a co-production with the Classical Theatre of Harlem and the National Black Theatre, running at The Public Theater at Astor Place Tuesday, February 26 through Sunday, March 17. Photo credit: Joan Marcus.[/caption] Michigan Gov. Rick Snyder, a white Republican, announced on March 1 that the state will appoint an emergency manager to try to bring the city of Detroit, largely black, largely Democrat, and nearly broke, back from the brink of financial ruin. The night before Snyder made that racially and politically fraught announcement, as it happens, I went to the Public Theater in New York to see the world premiere of a new work by a young Detroit playwright named Dominique Morisseau. The play, Detroit '67, is set during the city's bloody riot in the summer of 1967, and, like Snyder's announcement, it is a reminder that the past will always be with us. Morisseau's play could not be more timely. It's set in the basement of a West Side apartment shared by two siblings, the straight-arrow Chelle (Michelle Wilson) and her ambitious brother Lank (Francois Battiste), who have just received a small inheritance following their parents' deaths. They've agreed to turn the basement into an after-hours nightclub, but it's their sharply differing dreams for a better future that will drive brother and sister apart. Caught in the crossfire are their friends Bunny (De'adre Aziza) and Sly (Brandon J. Dirden). When Lank and Sly find a battered, disoriented white woman named Caroline (Samantha Soule) wandering on the street, they bring her to the basement to recuperate. The fireworks begin. This taut drama, crisply directed by Kwame Kwei-Armah, beautifully acted, produced in association with the Classical Theatre of Harlem and the National Black Theatre, doesn't have to stretch to make us see it as a metaphor for the racial tensions that are about to engulf the city of Detroit and much of the rest of America. It is one of Morisseau's gifts to be able to make the personal universal, plausibly, heart-breakingly so. Another of her gifts is the ability to see that Detroit is a city burdened with misconceptions. Among the most stubborn, as Detroit '67 states with a wicked punch, is the myth that the '67 riot -- or "the Great Rebellion," as many Detroiters call it -- was the root cause of the city's decline. It was not. Detroit's population peaked at 1.8 million in 1950 and then began declining as new highways greased the exodus to the suburbs. Meanwhile, the Big Three automakers started sending factory jobs to non-union states, a damaging trend that became ruinous with the advent of globalization. Today, the city's population is about one-third what it was at its peak. As Morisseau's play makes clear, the '67 riot was just one symptom -- and an unwelcome accelerant-- of a decline that had been in motion for nearly two decades. "I wanted to contribute a different Detroit narrative," Morisseau told me at the Public Theater the day before I saw the play. "I want to write as I believe we are. A human being has many flaws. I'm writing from a place of love rather than a place of judgment. I have to show who we are, our humanity. We're more than sound bites." Morisseau graduated from Cass Tech High School, alma mater of Diana Ross, John DeLorean, Lily Tomlin, and scores of famous Detroiters. After studying acting at the University of Michigan, Morisseau came to New York to pursue her career in the theater. Detroit '67, developed while she was part of the Public Theater's Emerging Writers Group, is laced with telling historical detail. I know much of the history because I grew up in Detroit and was a teenager during the riots, and later I spent years researching a novel set during the era. Morisseau, who was not born until 1978, knows the history thanks to family stories she heard while growing up, and to a newspaper clipping file kept by an uncle who worked as a freelance journalist. "Then I started reading the work of Pearl Cleage," Morisseau said, referring to the playwright, novelist and essayist whose father, Rev. Albert Cleage, was a prominent civil rights activist in Detroit in the 1960s and 1970s, an outspoken advocate of the Black Power movement. "That reading led me to the plays of August Wilson. I felt his overwhelming sense of pride in Pittsburgh and what the people of Pittsburgh must feel. I love writing about Detroit, and I thought I should do a three-cycle play about my hometown. I knew the riot era had to be covered." Morisseau has nearly completed her three-play cycle. Paradise Blue is set in the post-World War II jazz clubs of Paradise Valley, the thriving heart of Detroit's black East Side that was bulldozed to make way for the Chrysler Freeway, an undying insult to many black Detroiters of a certain age. Skeleton Crew is set in 2008, as the recession was hitting, Chrysler and General Motors were sliding into bankruptcy, and many people had given Detroit up for dead. As she was writing Detroit '67, Morisseau never lost sight of the fact that she's a dramatist, not an historian. "This play is not necessarily a history lesson," she says in a note that appears in the program. "However creative I am choosing to be, I am not being unfaithful to the spirit of the city or the outrage that ignited the riots. The truth is, there were police units called the Big Four that would ride around the city and harass the black residents, particularly around Twelfth Street. The truth is, Twelfth Street was considered to be a 'seedy' part of town. The truth is, the riots began in this very neighborhood at a time when police brutality had run far too rampant and an after-hours joint (also called a 'blind pig') located above a printing shop got raided. The truth is, the city's disenfranchised were becoming social rebels." True on every count. These truths come to life in what was, for me, the most poignant moment of Detroit '67, which will run at the Public Theater through March 17, then move uptown to the National Black Theatre of Harlem from March 19 to April 14. Caroline, the battered white woman, has made herself useful in the basement after-hours club during her convalescence, helping make the business a success. But she has also run afoul of Chelle, who disapproves of the growing attraction between her brother and this white intruder, with her dark past and her taste for Bali Hai wine and Motown music. As flames flicker in the windows and Army tanks rumble past on the street, the two women spar over the racial divide, the seemingly unbridgeable chasm that is as old as America itself, the gulf that keeps us all, regardless of our skin color, from being fully alive and truly free: CHELLE: You and Lank can pretend to be cut from the same cloth all you want. But outside this basement tell a different story. Lank got his eye on the sky but Detroit ain't in the sky. It's right here on the ground. A ground with a lot of dividing lines. We on one side and you on the other. CAROLINE: And what about when the lines are blurred? When you feel something that can't be cut up or divided? When you know you belong somewhere even if people tell you you're not allowed. That's where we meet, Lank and me. Somewhere without all the zones and restrictions. Some place that doesn't care if we dance close and enjoy the same music. Some place where we're not stuck. And maybe that's in a place you refuse to go...maybe you're afraid what'll happen if you do...but that's the place where someone like Lank and someone like me are exactly the same. And if you don't see that, maybe you're the one with the blind spot! CHELLE: I'm the one with the blind spot? You can run out of here right now. Leave town with these cops chasing you. They can harass you and bruise you and even try to kill you. That may make you the same as us. But if you survive it, you can leave. You can disappear and reappear wherever else you want, in any zone you choose. Live a new life without permission or boundaries or some kinda limits to your skin. Can Lank do that? Can any of us? Everywhere we go, the lines is real clear. Ain't nothin' blurred about it. You might dream the same. You might listen to the same music. You might even feel the same heartbreak. But til' he have the same title to this world that you got, you and him ain't gon' never be the same! And that ain't blindness tell me that. That's 20/20. Much has been written lately (some of it by me) about the hopeful signs of rebirth in Detroit -- a newly bustling downtown, the rise of a young entrepreneurial class, the sprouting of urban farms, the city's irrepressible work ethic, even the stunning rebound of the auto industry. These developments are real, and they're worth celebrating. But as Gov. Snyder's announcement reminds us, the city's problems are entrenched, and they won't be fixed by eager entrepreneurs, hipsters, or good press. The city is in desperate need of three things: jobs, people, and the tax revenue that comes with them. But at least the city's problems -- and the historical sources of those problems -- are being addressed in a clear-eyed fashion by a new generation of writers who are able to see beyond the tired cliches, beyond ruin porn and rosy optimism, beyond the finger-pointing and the exhausted racial-political rhetoric. With Detroit '67, Dominique Morisseau has added her voice to this robust chorus. Its members include Mark Binelli, author of Detroit City Is the Place To Be: The Afterlife of an American Metropolis. And Charlie LeDuff, author of the current New York Times bestseller Detroit: An American Autopsy. And Paul Clemens, author of Punching Out and Made in Detroit. None of these writers buys the simplistic old myths -- that the riot single-handedly ruined Detroit; that the city's first black mayor, fiery Coleman Young, was either a devil or a saint; that the racial divide can be bridged with good intentions; that the auto industry's soaring profits will be the city's salvation. The truth is much more complicated than any of that. Dominique Morisseau is a young talent worth watching because she's seeing our troubled, fascinating, resilient hometown with vision that's 20/20. Image courtesy of The Public Theater.