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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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“My First Buy”: Book Editors Discuss Their Earliest Acquisitions
“See here, I want you to come to Random House and lose some money for us with literary books,” the press’s president and publisher, Harold Evans, told Daniel Menaker, then fiction editor of The New Yorker, in 1995. “You have five years to fook oop.”
In his memoir, My Mistake, Menaker recounts this scene and his subsequent transition from magazine to book publishing. Blessed with this permissive mandate, Menaker naturally chose a book of short stories for his first buy. He ran the project, George Saunders’s CivilWarLand in Bad Decline, by his boss, Ann Godoff, who told him:
“Well, do a P-and-L for it and we’ll see.”
“What’s a P-and-L?”
“Profit-and-loss statement.”
“_____”
“You don’t know how?”
“No. Sorry.”
The dialog continues for pages, Godoff guiding Menaker with Socratic patience through the advance, payment schedule, initial print, returns, trim sizes, PPB (plant, printing, and binding), and finally the pricing, before arriving at the beautiful and the good formula for putting out a debut collection. “That ought to do it. Isn’t this scientific?”
(Menaker can afford to lead with his book publishing greenness here, knowing full well that Saunders, whom he edited at The New Yorker, has since entered the American short story writer’s pantheon.)
Reading Menaker’s anecdote, I wondered about the first professional decisions of newly minted editors — be they powerful tastemakers blissfully ignorant of P-and-L statements or recently promoted assistants. What drew them to the first proposal they tried to acquire? Did they look upon the decision as a momentous one? Do they even remember it now?
I asked six editors to share a story about their first buy, encouraging them to reflect on the projects themselves and what they were thinking at the time: their vision of where their list should go and the risk, fear, excitement or challenges involved. Here are their stories.
Scott Moyers, Vice President and Publisher of The Penguin Press
I spoke by phone with Moyers, who recalls the sense of initiative behind his first acquisition: “I felt like I was reaching out into the world and creating something.” He had been an assistant at Doubleday for four years before making a “huge leap” to Associate Editor at Scribner. Going after projects was difficult because as a new editor, he “didn’t know many agents and didn’t expect to get a first crack at many projects.”
Sometime during this period, he read a “stunning piece of longform journalism” in the Wall Street Journal by Thomas E. Ricks about a Marine platoon’s boot camp on Parris Island, South Carolina. Moyers jokingly described how he went on to pester Ricks and his agent for the book rights to a longer, “almost anthropological study” about Marine culture, its indoctrination methods, and the occasional tensions with the values society the soldiers were tasked to defend.
The pestering paid off, as he secured the floor in the auction, an anonymous baseline bid with the right to come back and beat any higher offers. There was another offer, which Moyers topped to secure Ricks’s Making the Corps, a success he says helped to “cement [his] status as an editor.” Moyers would go on to edit more books by Ricks, sell his books when he became a literary agent, and acquire his books yet again when he returned to editing.
Over the years since that first buy and the “almost existential fear” of being a young editor — one might compare it to a kind of tweedy boot camp — Moyers says he gradually learned what can and cannot be controlled in publishing. Reflecting back on the period when he was trying to make a career, he wryly notes that “nobody necessarily cares about your success except you and your parents,” and that Ricks’s decision to go with a young editor was an “act of generosity and faith” that he has not forgotten: “We grow more protective as we grow conscious of whom we owe.”
Kathy Pories, Senior Editor, Algonquin Books
Moving from the rigorous standards of nonfiction reporting to tales that couldn’t be any taller, Kathy Pories describes in an email how she reeled in quite the catch with her first acquisition:
The first book I acquired as an editor was a book by a local writer. His agent was in New York, and the book was out with other editors. It had an experimental feel to it, a structure unlike most books I'd read so far...fable-like. It felt like the kind of novel that people would either "get," or they wouldn't, so it felt a little risky for it to be the first book I bought. Still, my Editorial Director, Shannon Ravenel, was firmly in agreement — there was something so exciting and original and moving about this father-son story — and so she gave me the go-ahead to make an offer.
That book was Big Fish by Daniel Wallace. I remember that I was so green that Shannon kept passing me post-its with messages about what I should say to the agent (which in retrospect, I'm sure he could detect in my halting delivery as I engaged in my first negotiation. I wish I had a recording of that conversation now.) And we had no idea how big that book would become, or that within weeks, film rights would be optioned — or that it would actually become a movie. Anyway, it was an auspicious start. Seventeen years later, I still think you have to have that feeling that something is risky; those are the books that are the most exciting to publish. But I'm a little better on the phone these days.
Timothy Bent, Executive Editor (Trade), Oxford University Press
Timothy Bent remembers acquiring a vital, memorial work that has stayed with him over the course of a long career in commercial and academic trade publishing:
When I was at Arcade about twenty years ago I urged Dick Seaver, the publisher, to sign up a book whose manuscript he had given me, a newly hired assistant editor, to read. It was a essentially a “grief” book: a father’s biography of a daughter born with birth defects and who lived only a short time — barely over five months. It was a really painful story — operations, hope, more operations, loss. This was before I was a father myself and therefore before I could really understand all the dimensions of the grief, but the writing was so limpid, the thoughts and expression so unsentimental, the vision of this child so clear — what character and personality in a months-old child! — that I wanted badly to work on the book. I championed it, Dick acquired it for me, and I edited it.
The author is William Loizeaux, and the book is called Anna: A Daughter’s Life. It taught me to understand that every life, however foreshortened and unfulfilled, was worthy of a book, just as are those of Great Lives and Large Deeds; Anna inhabits one of those unvisited graves (as the narrator at the end of Middlemarch has it), whose lives we would never know or appreciate were it not for the written accounts by those who love and remember them. Her life counted. I gave myself to that book and became very close to the author and his family; when it was reviewed in the New York Times by Reeve Lindbergh, appreciatively, I remember feeling a sense of accomplishment that has never been matched since, though I’ve now acquired and edited many hundreds of titles, many on those whose remains inhabit highly visited tombs. How does a biography of Anna Loizeaux stand up to one of Bismarck? In my mind, it just does: that’s what a writer can do.
Alex Star, Senior Editor, Farrar Straus Giroux
Alex Star’s first buy involved an essayist, Meghan Daum, who made her reputation partly on the strength of a comic, rueful, and rodent-populated essay about the perils of being an editorial assistant: “For the editorial assistant, every day is a new near-death experience. As if ‘going toward the light,’ we chase after what literature there is, trying, at least in the beginning, to discover the genius in the slush pile who’s going to elevate us from entry-level minion to up-and-comer with a brilliant eye.” Star writes:
The first book I acquired, in the spring of 2012, was a collection of essays by Meghan Daum. This was doubly gratifying, since her first collection of essays, My Misspent Youth, was an important book for me back when I was trying earnestly to mis-spend my own youth, and because a new essay Daum had written, about a parent’s death, struck me as her best work yet. Daum’s new collection will appear this fall, and it covers mortality, children, animals, music, and growing older — an entire course on human nature, inside two covers.
Jenna Johnson, Senior Editor, Houghton Mifflin Harcourt
Jenna Johnson, who has been acquiring books for eleven years now, began with one about eight dramatic seconds. As she suspects is often the case with young editors, Johnson benefited from the “kindness of a senior colleague” for her first buy. During our phone call, she explained that inundated editors will sometimes encourage up-and-comers to pursue projects, which, however intriguing, they themselves might not have time to take on.
Thus was a book on rodeo culture passed along to Johnson by an editor for whom she had been reading manuscripts. Johnson’s history background and “demonstrated love for the American West” made her the perfect person to take the reins of W.K. Stratton’s Chasing the Rodeo, which offered a lively account of the rodeo and its literature, a discussion of the West’s place in the American imagination, and a portrait of the author’s own “rodeo bum” father.
Johnson said that the first buy “signals a moment of traction,” a crucial step for a young editor “learning to negotiate the system and find a book that suits the house.” Though a project about rodeos was not an “obvious Harcourt book” at the time, the house had published works by Roger Kahn and Roger Angell, so there were some “points of contact” for a book about sports culture.
What came through most vividly in our conversation was the joy of working alongside the author to achieve “the right balance” of reportage, history, and memoir: the challenge in any piece of narrative nonfiction. From this first buy and from many subsequent acquisitions, Johnson has come to see that writers and editors often end up as each other’s “mentors” in steering a project home.
Jeremy M. Davies, Senior Editor, Dalkey Archive Press
Finally, Jeremy M. Davies writes in about a thwarted first buy, which teaches him that a young editor must hone his taste as well as his strategic instincts to make his way in the publishing world. What follows is a two-part story of discovered manuscripts, intrigue, innocence lost, and a gleeful turn to (fictional) anarchy:
I had only been at Dalkey Archive for a couple of weeks. The first book I wanted to see signed on was an unsolicited submission by a translator of a deceased author who, at that point, had never, to my knowledge, been Englished. While I had minor reservations about the book — I wouldn't say I'd put my head on the block for it, as I would have for Édouard Levé, or Lascano Tegui, or Gerald Murnane, to name three more recent Dalkey acquisitions behind which I'm proud to have been lurking — but I was certain it was right for Dalkey, and that the author was someone for whom Dalkey would be applauded for introducing to the Anglophone world.
Now, you have to understand that, then as now, it's the Director who makes all final decisions about, well, everything. The process was semi-democratic, in that a book universally praised was far more likely to get the Director's okay. Books to be rejected would either be dismissed out of hand or else assassinated by other, less obvious means.
I was nervous about making a strong positive recommendation so soon after arriving at the Press, but, to my surprise and relief, I received a fairly rapid and equally positive reply, and permission to contact the translator with the news that Dalkey did, indeed, want to publish his work.
At the next meeting, the book was axed on account of another staff member's claiming that he didn't, after all, "like the ending." I suspected there was more to it than an aesthetic judgment, but what could I do? It was enough to kill the project, and I was instructed to reject the MS, even though it had already been accepted. The translator wasn't too pleased with this apparent duplicity, and I wasn't too thrilled to seem the culprit. But that's showbiz, I guess: it was a good lesson.
Another “excellent” press would acquire the book and translate several more by the same author, whose identity Davies will not reveal: “Here’s a hint: it ain’t Bolaño.” In the story’s denouement, our hero, wiser and schooled in the Machiavellian dealings of non-profit publishing, triumphs:
The first actual acquisition I handled differently. This was an original English-language MS that (also) came in on the slush pile, a few months later. The submission held my attention as being written by someone in control of his material (not often the case with slush). I was struck by its tone, ambition, and eccentricity, and its very skillful juggling of slapstick silliness with desperate bleakness. It also didn't hurt that it played to my pathological cinephilia. Cutting to the chase, this was Mark Binelli's wonderful Sacco and Vanzetti Must Die, which recasts the titular anarchists as vaudevillians who appear in such films as Ventriloquism and Its Discontents.
So, I saw that the book was "the real thing" (such clarity, in those days!), and I likewise saw that Mark was a contributing editor at Rolling Stone. (And if you haven't read his nonfiction, you should: his most recent book is Detroit City Is the Place to Be: The Afterlife of an American Metropolis, and he recently published a great profile of Pope Francis.) Evidence that I wasn't a complete idiot: when I brought the book up, I started with the Rolling Stone connection and only then went on to quality. This put things in the proper context: Sacco and Vanzetti was a project that had a chance at some real publicity, and thus sales, so its high quality as fiction became added momentum in overcoming editorial inertia, rather than the initial meek shove. There were no sneak attacks this time, and the book was published in 2006 to great reviews all over the place.
But, you know, like the man said, "Show me a movie with a happy ending, and I'll show you a movie that ended ten minutes too early."
Time to Put the Knives Away: An Interview with Rebecca Mead
Over coffee in a cafe in Fort Greene, Rebecca Mead asks me what my favorite book is, and then she stops herself. “Having a favorite is a stupid thing,” she says. “It’s like asking a child his favorite color. Only children have favorites.” Of course this isn’t true. Committing to a favorite book is like committing to a relationship, which is to say that it carries no automatic promise of deepening your engagement with human life, and may impede it. (Very often, when someone tells you his favorite book, you think he should have read more books before settling down.) The danger of poorly chosen commitment is a major theme of Mead’s favorite book, George Eliot’s Middlemarch — young, energetic Dorothea is stymied by her marriage to the permanently blocked scholar Casaubon; the ambitious doctor Lydgate is destroyed by his marriage to the materialistic Rosamond — but My Life In Middlemarch, Mead’s new book about her favorite book, makes it clear that she has chosen well. Mixing memoir, criticism, and literary history, with a sharp eye for all three, My Life in Middlemarch makes us feel what it’s like to live with a book throughout one’s life. A veteran New Yorker writer, Mead describes how her sympathies have shifted among characters from one reading to the next, and about how her life and reading have changed each other.
Mead points out that Virginia Woolf’s famous quote about Middlemarch — that it is “one of the few English novels written for grown-up people” — is not quite the unambiguous compliment it is often taken to be, since “grown-up” is “what children call adults.” But since we never stop being children and never stop having favorites, Mead makes a persuasive case that our favorite novel should be this one, which, like the best romantic partner, never stops comforting and never stops chastening us.
The interview has been condensed and edited.
The Millions: Is Brooklyn more or less provincial than the town of Middlemarch?
Rebecca Mead: (Laughs) New York is provincial, and Brooklyn is its own peculiar, absurd province within that. When I moved here from England in 1988, New York felt like it was where everybody wanted to go, the center of everything, very, very exciting. Now it feels like this isn’t the place where people are coming to. If you’re young, you can’t afford to move here. London is so international. People are coming there from Europe; it feels much more connected to the rest of the world. Maybe it’s age, and being less excited. But yes, New York does feel provincial.
TM: Where’s the line between self-help and literature? George Eliot, maybe more than most novelists, rather explicitly wanted to make her readers better. I admire how your book is not “How George Eliot Can Change Your Life In Seventeen Steps.” Where do you think that line is?
RM: I began with a piece in The New Yorker that was about the origin of this quotation — “It’s never too late to be what you might have been” — and I wanted to disprove that Eliot had said it. I didn’t disprove it, though I still don’t believe that she said it. When I started thinking about writing this book, I thought maybe I could do chapters based on twelve or thirteen things she did say. But I realized that this didn’t work at all, because that’s not how she works. When you separate what look like nuggets of wisdom from the text, they can make nice refrigerator magnets, but they’re just phrases. I think you have to read the whole book in order for it to make any real difference in your life. Because while you’re reading Middlemarch, you have the experience of empathy. You’re not simply told to be empathetic. You have your empathy shift from one character to another. And you have it change as you go back to the book over time, as most serious readers do. Middlemarch doesn’t tell you how to live, but reading Middlemarch, knowing Middlemarch, thinking about Middlemarch, helps you think about how to live for yourself. It’s a more demanding process than simply being told how to live.
Eliot wasn’t afraid of explicit moral direction or suggestion — she didn’t think there was anything wrong with doing it, as lots of later people have. That’s one thing I like about her; that’s one thing I liked about her as a young reader. She didn’t think there was anything wrong with telling you what she thought about things, rather than forcing you to think about whether you’ve got it right or wrong.
They keep coming up with these scientific studies measuring the effect on people’s empathy if they read literature, and on the one hand, you think: “Oh, good, that that will encourage people to read literature.” On the other hand, you think: “Do we have to measure it this way?” Isn’t that what literature is for, to make you see the world beyond yourself, and feel the experience?
I’ve read Middlemarch lots of times, but it never told me what to do, and it certainly didn’t tell me what not to do. And if it did tell me not to do something, I didn’t not do it. We make our own mistakes, and learn from our own experience. But reading is part of your experience. If you love literature, literature is part of your life. It’s not an external thing.
TM: “Books are stuff and life is stupid” doesn’t seem to help Lydgate.
RM: No. Poor Lydgate. But he dies young. He might have figured it out if he lived a little longer. But he made his own mistakes, as we all do. If he had read more literature and less science, he might have a wider view of women than he did. He had his own erroneous expectations, as we know from his relationship with the actress. He has an idealized notion of a woman on a pedestal.
TM: Lydgate’s relationship with the actress is an interesting burst of melodrama very early on. Which leads me to all the plot-heavy stuff with Raffles, which you mention is the least memorable part of Middlemarch.
RM: I’m not sure I could tell you now exactly how it works. I assume she had fun writing it. It’s fun to read it, and it’s fun to forget it. Then you come back and it’s like a whole new book.
TM: There’s also a lot with wills and so forth. Eliot is more dependent than I remembered on creaky plot devices. Why do you think that is?
RM: Why does she use Victorian plot devices? They were there, and they were what people used. Her audience would not have thought that that’s a creaky old device, they would have thought that that’s the shape a novel takes. What she was doing that was transformative was the interiority — D.H. Lawrence said that she took the action inside. That was the innovation, done within a framework that was in many ways still very traditional. And there were the demands of the serial format. She wasn’t quite like Dickens, but she had to hook people for the next episode. So she’s not Virginia Woolf, but you have to have Eliot first. I don’t think we can take her to task for not inventing every revolution in the novel, given that she invented one so brilliantly. At least one.
TM: Zadie Smith, in a very admiring essay on Middlemarch, complains that nineteenth-century English novels are still being written with “troubling frequency.” Do you think that literature’s gotten more conservative since Woolf? Do we need to move beyond Middlemarch?
RM: Right now, I’m reading Sheila Heti’s book, which is fantastic. It’s experimental but still has the satisfactions of a traditional novel. Kate Atkinson’s most recent book has an experimental form. Zadie Smith’s own work. People are doing things with novels that haven’t been done or haven’t been done for a while. Elizabeth Gilbert writes a novel with the idiom and ambitious scope of a 19th-Century novel, and I loved that, too. I found it completely winning. There are plenty of boring books, but there are plenty of exciting books as well.
TM: Do you think that writing this book has changed your approach to journalism? Your recent piece on yogurt opens up into a panoramic look at the family of the man who founded Chobani, and the town where the factory is.
RM: “The Middlemarch of yogurt?” I hadn’t thought about that. Certainly, though, the process that led me to want to write this book has to do with empathy. A lot of young writers don’t have a lot of empathy, and I don’t think I did. My first book [One Perfect Day] was about the wedding industry, a world about which I was curious about but not attracted to or invested in or fond of. I spent a lot of time with people who were doing things I didn’t like or approve of, and that was my aim, to do a comic muckraking sort of thing. That has a lot less interest for me now. I’m interested in writing more about people I like or admire or want to understand, rather than wanting to write about people that I could expose in what I saw as their comic foolishness. But that’s just part of growing up. If you still have the knives out when you’re my age, it’s time to put them away.
TM: Is there value in having the knives out when you’re young? Should we put them away when we’re twenty?
RM: No, I’m not saying that there should be no journalism that’s spiky or skeptical. I’ve still got the knives; I might get them out when there’s something that really needs cutting. I’m speaking about what I’m interested in doing. And of course there’s important value in exposing corruption and malfeasance, but that’s not the kind of thing that I ever did.
There’s a debate — isn’t there always — about whether criticism should always be kind, about whether you should write a bad review or take somebody down. It’s hard being on the receiving end of those reviews, but we all put ourselves out there, don’t we?
TM: You talk about how Middlemarch was too earnest for Virginia Woolf’s generation. Do you think that we’re too earnest? Too ironic?
RM: “Too ironic. Insufficiently earnest.” (Laughs) Your generation will acquire earnestness. I’m not going to be anti-irony. But earnestness has its own rewards.
TM: On a sentence-by-sentence level, there’s no writer more ironic than George Eliot.
RM: Yes, that’s a very important point. The post-Victorian generation put George Eliot into the box of earnestness and worthiness and dullness, so she’s forbidding. And people look at Middlemarch and think: “Oh my God, it’s so dense, I’ll never get through it.” But if you try hard enough to get into it, it’s spectacularly hilarious and ironic and cutting.
As I write in the book, when she was in her early thirties, she wrote absolutely scathing pieces about people. Forget about my knives, her knives were really, really sharp. Reading those essays, there was something absolutely thrilling about realizing that she too had been thirty years old and willing to take somebody down. But those things don’t live, and we would not read them now if she hadn’t written these great works of empathy, which are filled with irony and humor and the rest of it, but endure because of the empathy and the earnestness that underlies them.
TM: In that Zadie Smith essay I mentioned, she argues that the ambitionless Fred Vincy is the moral center of Middlemarch, because he’s not bounded by ideology. What do you think about that?
RM: It’s a great take on him. He’s a character whom I was uninterested in when I was seventeen. At the time, I couldn’t see the point of people like Fred Vincy. I realized in my late thirties or early forties that Fred and Mary are my mum and dad. Coming late to marriage myself, and having had many years of romantic adventures that I probably wouldn’t trade, the idea of that commitment from childhood is incredibly romantic. Awesome, to use that word properly. It’s really awesome. I have a lot more time for Fred than I used to. That line at the end of the book when he goes hunting but won’t jump over the high gate because he sees Mary and his children: that makes me cry. I literally sobbed the most recent time I read the book when I got to that scene. When a book can speak to you in these different ways over the decades, that shows that she did a good job.
TM: Are there any interpretations of the book that you strongly disagree with?
RM: There are some that aren’t mine, but I’m interested in reading other people’s. There is a wonderful essay by Nina Auerbach called “Dorothea’s Lost Dog,” in a book called Middlemarch in the 21st Century. She wrote about how annoyed she is by Dorothea, because Dorothea could learn all kinds of things if she wanted to. She has a library, she has the resources to educate herself, and yet she never does. Auerbach goes through the book and finds all these places where Dorothea has got books but she’s not looking at them and is looking out the window or something else instead. She finds all these places where Dorothea is not reading. She makes the case that, while we see Rosamond as the silly woman to be despised, in fact Dorothea is just as trivial as Rosamond. Dorothea’s ideas about spirituality are absurd; she has no rigor; she has no intellect. It’s so interesting to read; it’s not how I read the book, and I don’t agree with it in the sense that I have a different Dorothea, but it’s equally plausible. The more interpretations, the better. Even wrong ones.
TM: I think Rosamond is stronger than she gets credit for. She refuses to play the role that Lydgate tries to assign her, and I think there’s something admirable about that.
RM: So she could be reclaimed as a feminist heroine? There’s an interesting argument there. She’d be a feminist in the mode of: “Sure, I wear revealing clothes, but I do it because I want to. I spend an hour every day on my makeup for me.” But I’m not sure that I buy that sort of feminism, so I’m not sure I would buy Rosamond as a proto-post-post-however-many-posts-we’re-at feminist. She’s certainly not weak; she gets what she wants. She decides she wants to get married, and Lydgate has virtually no say in the matter. Once they are married, she gets everything she wants up to and including the death of her husband. She’s resilient like a rock is resilient. But the point of marriage is not one submitting to the other; it’s each submitting part of the way and not submitting part of the way. She resists him, but she doesn’t resist him in any productive way.
TM: Do you think Lydgate would really be able to submit usefully over the long term? You talk about what would happen if he married Dorothea; I don’t think that that would be a happy marriage.
RM: It might not be. There’s a part of me that always hopes he might marry her. A lot of readers say he could have been redeemed that way. But maybe you’re right; maybe it wouldn’t have been happy. Whatever Lydgate did, he should have waited a little longer before getting married, done a little bit more, made some scientific discoveries, met some more people.
There’s that line where Ladislaw asks Dorothea not to forget him, and she says that she’s met so few people that she’s never forgotten anyone she’s met. The condition of someone like Dorothea is that she really wouldn’t have met many people. It’s hard to think yourself back into what that world would be like. That’s one way in which Brooklyn is not provincial in the way that Middlemarch is. There is always somebody else to meet.
TM: That makes me think of Adelle Waldman’s novel, The Love Affairs of Nathaniel P., which is explicitly influenced by Middlemarch.
RM: What’s interesting about the conclusion of that book is that Nathaniel is essentially a Lydgate who doesn’t care. He’s a Lydgate who marries Rosamond and is happy. We don’t know where he’ll end up — from the outside, it doesn’t look good for him. But from the inside, he seems to be doing great. There’s something very dark in her willingness to leave it there and not stage a comeuppance. It was scary. In a naïve-reader sort of way, it made me very glad I’m not thirty and living in Brooklyn.
A Year in Reading: Lydia Kiesling
Oh, what did I read this year. I read all the Dear Prudence columns and some of The New York Times Vows and 6,000 things on Wedding Bee and even more things on Facebook and a lot of Tweets I do not remember now. I read two-thirds of the things about the election and one-third of the Mormon mommy blogs. I read most of the Andrew Sullivan and some of the Ta-Nehisi Coates and half of The New Yorker, but not the thing about Hilary Mantel, because I didn't read Wolf Hall, until this week when I read half of it on the train. In the airplane I read Esquire. In the bathroom I read The Economist that I got free with the miles I accrued reading Esquire in the airplane. In the living room I read the alumni magazine I got free with the expense I incurred on my education. I read the whole Jonah Lehrer scandal. My favorite thing I read on Jezebel was a video of a dog fetching a cat.
I read In Other Rooms, Other Wonders, and my word, was that good. I read The Appearance of a Hero, and wrote a whole review of it in my head called "Where the Bros Are" -- or was it "For the Bros"? -- but forgot to write it down (don't get me started on the things I didn't write this year). I read NW and couldn't stop thinking about the scene with the tampon string like a mouse tail and got the taste of metal in my mouth, thank you very much Zadie Smith. I read We Need to Talk About Kevin and got the feel of bleach in my eye and hamster in my sink, thank you very much Lionel Shriver. I read The Snow Child which was like Crystal Light with extra Splenda (that is not a compliment, in case it's not clear). I read The Silent House which gave me the willies (that is a compliment). I read the The Deptford Trilogy because every year I have to read something by Robertson Davies and like it and then forget what it was about. I read the Donald Antrim triple-decker (one, two, three), and those were the greatest old new things I read this year.
I re-read Good-bye to All That and Tender is the Night and Midnight's Children. I did not re-read The Tin Drum or Middlemarch or The Chronicles of Narnia or any Sherlock Holmes stories, and I really feel it in my bones that I did not re-read these things. I did not re-read The Corrections or Cleveland's History of the Modern Middle East, which I was going to re-read to remember what is the deal with Syria. I only re-read half of one movement of A Dance to the Music of Time (one-eighth, then).
I still did not read Witz or Swamplandia! or The Instructions or A Visit from the Goon Squad or Skippy Dies or The Art of Fielding, or How Should a Person Be? even though I spent $30 on it at a book thing to seem like a team player. More distressing, I still did not really read Don Quixote or Das Kapital or War and Peace, or a thing by Stendahl or Ulysses. I did not read one really hard book this year, except one by Buket Uzuner, and that was just hard for me, and I didn't really read that either, just 20 pages.
As usual, to compose my Year in Reading is to confront my failures. Resolved for 2013: more paper, less screen. More reading, more revelation.
More from A Year in Reading 2012
Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005
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