May We Be Forgiven: A Novel

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Most Anticipated: The Great Summer 2024 Preview

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

Detroit Fiction: On Rightsizing American Literature

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Fiction is the next Detroit. Have you been there? I haven’t, but I’ve read plenty about it, which surely counts for something. Most of it is pretty grim stuff. For that matter, so is most of what you read about the state of contemporary American fiction, what with the demise of publishing and our whole world pixelated and digitized, not to mention Thursday night football and Sunday morning brunch, and just who the hell has the time to read a whole book anyway? Eulogies for high literature have become a sort of genre of their own. These have sometimes been unrelentingly dour, like Nicholas Carr’s The Shallows, and sometimes amusingly hectoring, like "Where Have All The Mailers Gone?", a New York Observer essay in which Lee Siegel calls fiction "a museum-piece genre most of whose practitioners are more like cripplingly self-conscious curators or theoreticians than writers." The most famous entry in this genre, though, probably remains Jonathan Franzen’s 1996 essay in Harper’s, “Perchance to Dream,” in which he presciently (and without any of the usual histrionics) predicted what would happen to fiction in the ensuing years: “The institution of writing and reading serious novels is like a grand old Middle American city gutted and drained by superhighways,” a hulking beast that has outlived its utility. The great city was abandoned, Franzen writes, because “the average man or woman’s entire life is increasingly structured to avoid precisely the kinds of conflicts on which fiction...has always thrived.” The technologies introduced in the 17 years since Franzen (a native of that most “Middle American” of cities, St. Louis) wrote those words have only exacerbated the situation, letting the soul select and “like” her own society to a previously unimaginable degree. The Internet and all its attendant gewgaws have only further atomized communities, essentially reducing vast swaths of human discourse to the swipes and clicks of a finger. Having abandoned what Franzen called “the depressed literary inner city,” we have pushed out from the suburbs into even more discrete exurbs, our literature as ersatz as the McMansion subdivisions that riddle the landscape, our homes decorated with the inoffensive West Elm trappings of workshop fiction. This is obviously a very tricky place from which to write the sort of sweeping, universal literature that generally gets called art -- in fact, given all the forces aligned against you, both cultural and economic, you’d almost have to be a fool to try. Might as well just scroll through your Netflix queue. In one of those happy accidents of fate, I reread the Franzen essay almost right after having finished Mark Binelli’s Detroit City Is the Place to Be: The Afterlife of an American Metropolis. Binelli is a native of that much-mourned city, and while he enumerates the many signs of its postwar decline, his is a strangely optimistic narrative of those have stayed or actually moved to Detroit, messianically convinced that emptiness, rubble and neglect are the ingredients of a visionary new city upon the lake. Hipster farmers, European architects, African-American community activists -- they have all taken Detroit’s thoroughly confirmed irrelevance as an asset that will let them rebuild as they want, free of both corporate and popular dictates. That’s what I meant with the fiction-as-Detroit conceit. It is well known that the fortunes of the Motor City declined when, in the postwar era, Japan and Germany started making much better cars than we did. What happened to the American automotive industry some half-century ago is happening today, more or less, to American publishing: declining interest in the product, high legacy costs, cheaper competitors (i.e., ebooks), a workforce slow to adapt. By that logic, literature is dead or dying, doomed to the sort of irrelevance that left Detroit looking like firebombed Dresden. This, however, does not have me worried. I, for one, am happy to occupy that gutted and forgotten city, much as Franzen was back in 1996, much as some college graduate right now is dreaming of escaping his parents’ basement for a coldwater loft. Literature could not find itself in a better place from which to escape the confining and picayune interiority of the last half-century. I am going to push this urban metaphor a little further, not for the sake of trying to be clever but because it gets at the very problem facing fiction. The audience for literature today is generally well-off and suburban -- these are the people, after all, who have time to think about their profoundly personal problems and read books that purport to solve or at least mirror them. So, then, if the ruined metropolis is the sort of serious fiction that Franzen championed, then the suburbs are the predictable comforts of memoir like Eat, Pray, Love, or its fictional equivalent. There is something freeing in neglect, in the knowledge that literature has lost its centrality in the American experience, that we neither have new Mailers, nor yearn for them, that we have been abandoned for more the more passive pastures of the digital age. With that knowledge already beneath our skin, why bother trying to attract Starbucks to Gratiot Ave? Let us brew our own, stronger coffee: Joshua Cohen’s Witz; A.M. Homes’s May We Be Forgiven. Elizabeth Gilbert can keep her millions. I guess what I am calling for is the literary equivalent of “rightsizing,” in the lingo of urban planners. The concept suggests that we reclaim cities by returning them to their core functions, by shedding the sprawl that doomed them in the second half of the 20th century -- the same cultural sprawl that has diluted American fiction. Writing of Detroit’s plan to rightsize back in 2010, The Economist was glad that “harsh realities have produced radical thinking,” praising Mayor Dave Bing for recognizing the “painful necessity” that the Detroit of bustling factories could never be again. In fact, Detroit’s automotive industry has become back: not enough to return the city to its halcyon days, not enough to heal the scars of its decline, but certainly more than doomsayers would have expected a decade ago. It has done so by becoming leaner, smarter, no longer peddling Hummers, thinking of green energy and efficiency as more than just the fads of coastal elites. Publishing will have to do the same thing if it wants to save the literary city. It will likely have to look at smaller presses that are publishing less, but editing more, that are repacking classics in unexpected ways, that are finding ways to be beat Amazon at the ebook game. And the city will be saved. Because while the city may shrink, it cannot be allowed to die, either -- cities, like books, will always attract those who reject more anodyne pastures. The city is where real problems reside, along with the people who suffer from them -- and those who, to borrow from Auden, cannot help but act as “an affirming flame.” Today's suburbanized literature -- a dim light bulb -- has largely cast aside the sweeping social concerns that animated, say, The Grapes of Wrath and Native Son. A big social novel is like a great old train station; a nice thought, but impractical in this day and age. Who will go there, anyway? A bus shelter will do. Both of the above novels are Detroit fiction: unruly, uncouth, imperfect, tragic, frequently beautiful, sometimes ugly. Which isn't to say that Detroit fiction always has to be 600 pages long and cover the entire arc of American history. Henry Miller's furiously personal Tropic novels are squarely Detroit in their ambition to catalog "the hot lava which was bubbling inside me." So are the cerebral short stories of Lydia Davis, who gets at the human condition in seven stabbing words: “Heart weeps. Head tries to help heart." That's about as far from the suburbs as you can get. Suburban novels are, in the end, a double illusion: the basic one of fiction, followed by the more poisonous promise that reading, say, Paulo Coelho is really going to improve your life. Their counterpart is the McMansion with its ersatz Tudor accents and assurances that within is everything you could ever needed. This is obviously not true. The world is out there. Detroit awaits. Image Credit: Wikipedia

Judging Books by Their Covers 2013: U.S. Vs. U.K.

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As we've done for several years now, we thought it might be fun to compare the U.S. and U.K. book cover designs of this year's Morning News Tournament of Books contenders. Book cover art is an interesting element of the literary world -- sometimes fixated upon, sometimes ignored -- but, as readers, we are undoubtedly swayed by the little billboard that is the cover of every book we read. And, while many of us no longer do most of our reading on physical books with physical covers, those same cover images now beckon us from their grids in the various online bookstores. From my days as a bookseller, when import titles would sometimes find their way into our store, I've always found it especially interesting that the U.K. and U.S. covers often differ from one another. This would seem to suggest that certain layouts and imagery will better appeal to readers on one side of the Atlantic rather than the other. These differences are especially striking when we look at the covers side by side. The American covers are on the left, and the UK are on the right. Your equally inexpert analysis is encouraged in the comments. I much prefer the U.K. version here. The woodblock art is sublime, and the red and black are nice and bold.    

A Year in Reading: Michael Schaub

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You can go home again. I’m barely living proof. I’m writing this on Thanksgiving, in my childhood home in San Antonio. I drove here from Austin last night, with my partner, Leela, and our three dogs. Downstairs, my mother is peeling potatoes and watching MSNBC. Leela is drinking coffee and making a pie crust. I’m staring at a bookshelf in the room where my brother, Randy, used to sleep — there’s Flann O’Brien, John Updike, Stephen Jay Gould. Randy died in 2010. This is my first Thanksgiving at home without him. I’m listening to Alejandro Escovedo sing “Five Hearts Breaking,” a song I’ve had stuck in my head ever since Leela and I crossed Loop 1604, on repeat: “Everything will be all right,” he promises, over and over again. Ever since I came home, I’ve been thinking of the best novel I read this year, A.M. Homes’s stunning May We Be Forgiven. That’s not surprising — the book opens and closes with family Thanksgiving dinners, the first one dreadful, the second, triumphant. It’s the same family, except that it’s not — the protagonist Harold Silver and his niece and nephew are there at both dinners, but not much else looks the same. Harold’s wife, brother, and sister-in-law have all gone away. It happens. In the years since I lost my brother, I’ve been thinking a lot about the moral force of literature, which didn’t mean much to me as a smirking faux-postmodernist teenager, but means everything to me now. May We Be Forgiven is a deeply moral novel, though it’s never moralistic. The characters cheat on their spouses; they lie and neglect and even murder. Homes keeps a distance throughout; she’s not judgmental, but neither is she naive enough to presume that we won’t, or shouldn’t, judge one another. One of the book’s main characters — in absentia, obviously — is the famously amoral President Richard Nixon, about whom Harold, a historian, is writing a book. Another character is the Internet, which ends up acting as both destroyer and redeemer: There is a world out there, so new, so random and disassociated that it puts us all in danger. We talk online, we “friend” each other when we don’t know who we are really talking to — we fuck strangers. We mistake almost anything for a relationship, a community of sorts, and yet, when we are with our families, in our communities, we are clueless, we short-circuit and immediately dive back into the digitized version — it is easier, because we can be both our truer selves and our fantasy selves all at once, with each carrying equal weight. You could call that moralizing, of course, but only if you’re completely oblivious — only if you’re too far gone to realize the difference between liking something and “liking” it. Don’t worry if you are; you’d be in good company. It’s an unbearable cliché to say that a book can change your life, and the fact that sometimes it’s true, perhaps, doesn’t make it any less trite. I don’t know whether May We Be Forgiven has changed my life; if it has, it will be years before I realize how, or why. I do know that it’s affected me more than any novel I’ve read in years, and I do know that it’s a masterpiece. And I know that it’s courageous, and an unambiguous force for moral good. If you’re too young or distant or callow to care about that, don’t worry — you will someday, and it’ll hurt like hell, and you’ll be glad, at some point, that it happened. May We Be Forgiven is a prayer, like the one I learned as a child in Catholic school, and found myself reciting a few years ago, over and over again: “Eternal rest grant unto him, O Lord, and let perpetual light shine upon him. May the souls of the faithful departed, through the mercy of God, rest in peace.” I’m not a religious man, except maybe I am. All I know is that I don’t know. Whether we’re forgiven or not, may we be worthy of our families, the living and the dead, the ones for whom we’d give all we have. May we learn to forgive ourselves. May everything be all right. Amen. More from A Year in Reading 2012 Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.

Comforting the Disturbed, Disturbing the Comfortable: A.M. Homes’s May We Be Forgiven

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The suburban Dick and Jane characters of A.M. Homes’s oeuvre smoke crack, set their homes ablaze, lust for Barbie dolls, and teach teenage girls the art of perversion. In her new novel, the trend continues with a duplicitous protagonist whose actions take us straight to the divided heart of human consciousness. Spineless college professor and Nixon scholar Harold Silver is wearing his brother’s pants. He’s using his brother’s driver’s license, living in his brother’s home, and taking care of his brother’s kids. Younger taller brother George, a successful TV executive and the more charming, more mercurial half of the pair, has killed wife Jane after finding her in bed with brother Harry. Within the first few pages of the novel, Jane is dead and George has been exiled to The Lodge, an in-patient facility for wealthy murderers with good insurance, leaving Harry to pick up the pieces of his brother’s dramatically disaggregating life. A year later, Harry will reminisce on the night he stood pressed against Jane over the greasy carcass of a Thanksgiving turkey and he’ll ask the question that serves as the title of the book: “May We Be Forgiven?” Wait. Rewind. May who be forgiven? We’ll get to that, but first let’s talk about the plot. The twists and turns in May We Be Forgiven are classic A.M. Homes. At first glance, Harry is a bumbling everyday man who imagines himself, much like his unlikely hero Richard Nixon, an unassuming salt-of-the-earth kind of guy who just happens to find himself in one compromising situation after another. He stumbles onto his brother’s internet porn where people advertise their bare bits like a pride of lions on Mutual of Omaha’s Wild Kingdom. Then, as if there’s no other option, he drives across town for a real-time tryst with a woman who insists on paying for sex because she wants a man who can feel both the pleasure and the degradation. Later, we find Harry seeking redemption at a church meeting where, under the alias Nit, he divulges his darkest secrets to a group of people who respond by asking if he has a drinking problem (oops, wrong meeting). After several visits to The Lodge, things get even stranger when George is transferred to The Woodsman, a “low-cost survival-of-the-fittest penal colony” where micro-chipped prisoners police themselves under constant satellite surveillance, also Wild Kingdom-style. Somewhere amidst murder, kinky sex, and Harry’s budding relationships with a collection of random strangers, is a nested story about impeached President Richard Nixon. Homes’s satire on the troubled history of the American Presidency not only adds a layer of complexity to Harry’s character, it also raises questions about our ignorance of American institutions of government. But, as with the rest of the novel, she administers this medicine with a dose of scintillating humor. For instance, in Harry’s theory of Presidential politics, there are two types of Presidents: one type has a lot of sex and the other type starts wars. In short, says Harry, and “don’t quote me because this is an incomplete expression of a more complex premise -- I believe blow jobs prevent wars.” One can certainly follow the advice of the dust jacket and read the novel as a darkly comic tale about a family reinventing itself after a series of blunders and tragedies. But wouldn’t it be more fun to pay attention to the book’s duplicity, its cornucopia of references to history, culture and authors like John Cheever, who appears in the novel as an apparition, and Robert Louis Stevenson, who shows up indirectly when George tells Harry to mind the black spot on his Gertrude Jekyll roses? Wouldn’t it be more interesting, in other words, to read Harry as a man who doesn’t know he’s gone mad and whose brother George, like the ghost of Cheever, is also an apparition? Scenes where Harry asks George if “we screw[ed]...the neighbor lady” leave the impression that there’s more going on here than pathologically blurred boundaries. Similarly, when Harry looks in the mirror and watches his face divide and fall in half, when he considers himself as much a murderer as George, and asks himself why he’s out of context as if he doesn’t really exist, we feel a sense of vertigo. This does beg the question, who is the “we” asking to be forgiven in the opening paragraph of the novel? Certainly readers will find in Harry echoes of the adulterer, John the Baptist, praying for us all to be forgiven our sins. Homes repeatedly plays upon religious irony, including one of my favorite scenes at a Yom Kippur service in which Harry joyously proclaims, “I am guilty. I am guilty of even more than I realized I could be guilty of...,” while a rabbi recites a litany of familiar sins. Beneath the surface, Harry never really connects his guilt with his actions. He’s a multifaceted character who projects everything dark and desirous onto a brother he can’t distinguish from himself, suggesting that the “we” is a beastly side of Harry, personified in George. But this remains an open question because Homes is a novelist who immerses readers in the world of her characters and keeps them there from beginning to end. May We Be Forgiven is a novel that never breaks that pact. This, friends, is the crowning achievement of the novel. As unreliable narrators go, Homes’s fraternal doppelgänger outdoes both that of Bret Easton Ellis’s American Psycho and the unnamed insomniac putz who fights with his alter-ego in Chuck Palahniuk’s Fight Club. The difference is that there’s a certain rationality in the two wildly popular precursors, which allows the reader to sit back and watch the character’s insanity unfold. James Wood calls this kind of narration “reliably unreliable.” Referencing seminal examples of unreliable first-person narration like Charlotte Brontë’s Jane Eyre and Nabokov’s Lolita, Wood argues that these novels teach us how to read the character’s instability because their authors alert us to it and show us how to plug the holes. In May We Be Forgiven, the reader doesn’t have the luxury of distance. From page one, she is inside Harry’s head, inside his body, feeling his dizzying confusion, perhaps even hallucinating up a whole makeshift family, unable to distinguish reality from a dream in one moment and just a regular guy in the next. This places Harry Silver in the far more rare category of “unreliably unreliable” narrators, a category populated by only a handful of novels, most notably the underground man of Dostoyevsky’s Notes from the Underground. David Foster Wallace said that good fiction’s job is to comfort the disturbed and disturb the comfortable. This book may not be the first choice for those who want to be comfortable. Its point of view is unsettling, even outright disturbing. At times, I felt like I was sitting on the weighted bob of Foucault’s pendulum (also noted in the book), the background shifting constantly and characters appear and disappear as the pendulum swings from one context to the next. Other times, I felt as though I was inside an Escher piece, from one angle viewing a perfect portrait of a mad man; from another, a world that looked frighteningly familiar, Harry’s madness a symptom of the fragmented, dissociated, techno-happy culture we live in. While Homes’s tragicomedy may trouble some readers, it meets and far exceeds Wallace’s criteria for good fiction. For readers like me who choose Homes’s work because it reminds us to be courageous and shows us how to do it, May We Be Forgiven does not disappoint: it gives us a rare journey inside the divided heart of human consciousness, not a brief visit from a safe distance. A.M. Homes remains the most daring voice of her generation and May We Be Forgiven is her magnum opus.

Tuesday New Release Day: Rowling, Homes, Stein, Wilson, Moehringer, Tejpal, Silver, Young, Warner, Donoghue

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Another bumper crop of books this week is led by J.K Rowling's post-Potter effort, The Casual Vacancy is on shelves, as are May We Be Forgiven by A.M. Homes, Canvas by Benjamin Stein, Panorama City by Antoine Wilson, Sutton by J.R. Moehringer, Tarun J. Tejpal's debut The Story of my Assassins. On the non-fiction side, Nate Silver's long-awaited The Signal and the Noise is here, as is Neil Young's memoir Waging Heavy Peace. New in paperback: John Warner's Funny Man (the edition includes an essay by Warner that ran on The Millions) and Emma Donoghue's blockbuster The Room.