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A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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Richard Wright, 106
Richard Wright's 106th birthday passed this last week, and in celebration The Paris Review posted an excerpt from a 2003 remembrance. Pair with our own Lydia Kiesling's review of Wright's Native Son.
Reading and Race: On Slavery in Fiction
1.
In my eighth-grade U.S. History class, each student read a novel written by an African-American writer, about African-Americans. There were a few books to choose from, but the only ones I remember are Native Son by Richard Wright and Roots by Alex Haley. Because the latter was so long, no one chose it. No one but me, that is. I had never heard of it, nor the adapted mini-series, but the book was big and intimidating, and I was nothing if not a nerd and a show-off. In my certainly-revised memory, I pick up a copy from the pile, and the class gasps with admiration and foreboding. I carry it back to my desk, head held high.
A little background. I'm white (shocking, I know), and I went to a mostly white, public elementary school in Laurel Canyon, that rock 'n roll, bohemian enclave in Los Angeles with its bungalows and crumbling mountain-sides. (In recent years, it's gotten much fancier.) Back then, I felt left out that my parents weren't British, or former addicts, or ostrich-owners (don't ask), or screenwriters. If you think my name is odd--well, you didn't know Chantilly, or Swan, or America, or Ole, a kid who was only there for a few months before disappearing to who-knows-where. In the sixth-grade, Spike Lee's X came out, and a couple of students wore those baseball caps with the letter X on the front--I'm not sure they knew what it meant. A few had that shirt that read, "Love knows no color." This was the same year as the L.A. riots. Our graduation dance theme was "Rebuilding the Peace." The teachers decorated the tables with tiny wooden hammers.
Around that same time, my father got a subscription to The New Yorker. (For the cartoons. I'm serious.) I remember one cover had something to do with Malcolm X, and there were these small illustrations of white faces on it, with the words "white devil" floating around them. I saw this magazine in the bathroom a few times a day for a week, and it stung and confused me every time. I didn't understand it. Why were they devils? Was that even okay to say? Was I a white devil? What the hell did I do?
The next year, I went to junior high in west L.A., a bigger and far more racially diverse school than the one I had graduated from. Because everyone was different at this school, because I was different, I began to truly understand what difference meant. People sometimes identified me as "white girl" in the hallways, and it made sense. After all, I was white. Really white: I burned easily, I wore Converse and shorts from the Gap, and my parents listened to The Grateful Dead. Twice I was asked, snickering, if my name was Becky. I learned some Spanish slang. I learned that some kids went to school on Saturday, to master their parents' native tongues. A boy in English class pointed out that Black History month was the shortest month of the year--and that blew my mind. It had never occurred to me.
It was at this school, with my sense of self and the world all shook up, that I read Roots. Haley called his book "faction"--fiction mixed with fact, and later genealogists debunked his claim that the book told his actual family history. None of that mattered to me then--or matters now. My teacher had assigned it as a novel, and like all good fiction, it felt authentic. I devoured the book, and I couldn't get it off my mind. I can still remember how I felt reading the section on the slave ship, Kunta Kinte packed in with hundreds of other slaves: the darkness, the suffering, the stench of bodies. I had learned about the Middle Passage in school, but it wasn't until it was translated into narrative that it affected me so. I was appalled and frightened by a history I already knew, for the story of slavery is far more powerful than a "unit" on it.
In the eighth grade, I began to understand that I, and every American, had inherited something shameful. I began to connect race to history to power, and it was all because of a book.
2.
Reading narrative requires empathy. The character's perspective becomes your own, and through this relationship you begin to feel as another person would. As I read Roots, I felt what Kunta Kinte felt, saw what he saw, and by becoming him, I understood intimately the horrors of slavery. It's why nonfiction slave narratives, like those of Harriet Jacobs and Frederick Douglass, were so important to the abolitionist movement, and why fictional slave narratives persist today.
But stories also require complicity: the reader participates in the action of the story simply by imagining and interpreting it. As Zadie Smith points out in this short interview:
Fiction is like a hypothetical area in which to act. That's what Aristotle thought—that fictional narrative was a place to imagine what you would do in this, that, or the other situation. I believe that, and it's what I love most about fiction.
I agree with Smith here, and it's why I don't like books that make that arena of ethics too simplistic. I don't need my characters to be heroic; in fact, I prefer them not to be. Their choices should be difficult, their situations complicated, and if they emerge from events unaffected or unscathed, then they do not seem authentic. They stop mattering to me.
But what if a novel's "hypothetical area in which to act" is a historical landscape that places pressures on its characters that we haven't experienced ourselves? What if that landscape is the antebellum South? My empathy is immediately ignited by these stories, but so too is my complicity. As a white reader, I'm simultaneously made to understand the experience of slavery, and I also must wrestle with how I'm implicated in that past. For although I identify with the book's main characters, there's another part of my brain that knows I can't. If this book were made into a movie, I think, I'd look more like the overseer's wife than the protagonist. I know I'm not the only one who's experienced that awful feeling. On goodreads a few months ago, some dolt wrote that he hated books about slavery because, and I paraphrase: "I wasn't the one to rape your great, great, great grandmother!" In other words, it wasn't his fault slavery happened, he didn't want to hear any more about it. And that's the thing: slave narratives keep us hearing about it, they keep that chain between the past and the present alive. For me, reading one can be complicated and uncomfortable business, and it's partly why I continue to seek them out.
3.
But only partly. In Victor La Valle's Year in Reading post, he wrote:
I don’t know about you, but when I read that book takes place during slavery my defenses go up immediately. It’s going to be “serious” and “important” and “teach us something” and….oh, I’m sorry, I almost fell asleep.
He's right--"serious" and "important" are sometimes just synonyms for "boring." But good books about slavery are readable, very much so. Is it wrong to say they're entertaining? Well, they can be. This isn't "tea towel" fiction, it's fiction where the stakes are high, and people's lives are at risk. There are secrets. There is real fear. The power dynamics between characters are complicated and fascinating, or they should be. People are fighting for a sliver of self that isn't owned and denigrated by another person, and that makes me care and keeps me turning the pages.
One novel for which this is especially true is The Book of Night Women by Marlon James, the very book that LaValle recommended in his post. James's novel takes place not in America, but Jamaica, at the turn of the 19th century. Told in dialect, it's about a young female slave named Lilith who participates in a plot to overthrow her plantation master. Though it takes some time to get used to this voice and particular syntax, it's wholly absorbing once you do, perhaps because the language is a kind of bridge into this past. The prose pulls you into Lilith's consciousness, which reflects the violent and brutal world in which she lives.
And let me tell you: The Book of Night Women is one of the most violent and brutal books I have ever read. One day I read it for four hours straight, and the world was all wobbly and terrible after I put it down. Its unflinching depiction of slavery reminded me of something from Wyatt Mason's profile of Edward P. Jones, whose novel The Known World, about black slaveholders in antebellum Virginia, explores the tangled, contradictory ways that slavery can involve and affect an entire community. In that novel, which I (and many others) consider a masterpiece, Jones quotes census numbers and scholarly texts--all of them made up. Mason writes:
What research on the subject Jones undertook was, in fact, quickly derailed after he happened upon an account of a white slave owner who spent her days abusing one of her black slaves, a little girl, by beating her head against a wall. “If I had wanted to tell the whole story of slavery, Americans couldn’t have taken that,” Jones told an interviewer. “People want to think that there was slavery, and then we got beyond it. People don’t want to hear that a woman would take a child and bang her head against the wall day after day. It’s nice that I didn’t read all those books. What I would have had to put down is far, far harsher and bleaker.
Marlon James, on the other hand, did seem to read all of those books, and his novel faces those harsh realities head on. But Jones and James' books are similar in that their characters are multidimensional, no matter their race, and the smallest dramas are specific and deeply felt, which makes these historical backdrops all the more real for a contemporary reader. In the Book of Night Women, for instance, Lilith becomes romantically involved with her Irish overseer, Quinn. He believes, as an Irishman, that he understands oppression as she does, but she knows that can't be (and we, as readers of this narrative, know it, too). Their relationship is tender and sexy at times, and weird and upsetting at others. And usually it's all of those qualities simultaneously, and you feel at once turned on, repelled, skeptical, nervous, grateful and vulnerable.
4.
Kindred by Octavia Butler asks the reader to feel myriad emotions, too, and it proves literally that a character cannot emerge from important events unscathed. Butler's book is not only about slavery, it's about time travel. That's right: its main character, a black woman named Dana (actually her full name is Edana--which I loved), is again and again sent against her will to nineteenth-century Maryland to keep her white ancestor, Rufus, safe. If he dies too soon, she will never be born. The book's premise reminds me of the comedian Louis CK's routine about being white. ("Black people can't fuck with time machines!" he jokes. "A black guy with a time machine is like, "Hey, nothing before 1980, thank you, I don't want to go.") Every time Dana returns from these trips as a slave, only a few minutes or a few hours have passed in her real life in 1970's L.A. Nevertheless, she carries her experience of slavery on her body--she returns injured, scarred, and by the end of the book (it's also where the book opens), she returns to the present without an arm. In other words, the past will always interfere with the present. She can't fully understand this history without it damaging her.
Dana's white husband Kevin is also taken into the past with her, and it's here that the book is most compelling and thought-provoking to me. In Maryland, Dana and Kevin must play slave and master in order to spend the night together, and after Kevin's trapped in the past for years, he takes on the same speech patterns as the whites during that time. The couple want to believe that their personal relationship can remain pure, that the political and social climate of slavery won't infect their interactions, but that's impossible. The very first time Dana returns from Maryland, she momentarily mistakes Kevin for a white southerner, out to hurt her, and she is frightened of him. The past has already trespassed onto the present, where she is supposed to feel safe and equal. It happens quickly.
With Kindred, I identified with Dana, even if, were I to time travel back to antebellum Maryland, my problems would probably be more similar to Kevin's. But like Dana, I'm a woman who lives in Los Angeles. Like Dana, I'm a writer. And like Dana before she time travels, I've read about slavery, and so I can only approach it as a reader. Because Dana is a modern woman, she is wearing pants when she is transported, and in antebellum Maryland, characters ask her why she's dressed as a man. They want to know why she talks as she does. And how she learned to write. They wonder aloud if she thinks she's white--she sure does carry herself that way. Maybe Dana's belief in her own equality ties her more strongly to me, a contemporary female reader, than race ties her to the black slaves in antebellum Maryland. Or it only does, until a point. Or it does and it doesn't, at the same time. Either way, Butler has performed a kind of identity magic trick with her novel. By experiencing this world as Dana does, as any contemporary person would, I too must suffer at the hands of slavery.
5.
When we're younger, it feels like the only books we're given about black people are about slavery, just as the only books we're given about Jewish people are about the holocaust. There's a danger there, as we might be led to believe these are the only stories such writers are allowed to tell. Not at all. As many contemporary black authors have proven, there are a zillion ways to write the black experience, and using slavery as a subject is just one of them. But writers like Marlon James, Edward P. Jones and Octavia Butler (and others, like the inimitable Toni Morrison--my God, have you read A Mercy?) prove that the fact of slavery is still upon us, it still haunts us, and that it can be told and retold in powerful, surprising and evocative ways that engage a reader. Or this reader, at least.
Modern Library Revue: #95 Under the Net
I think it's a symptom of the internet age, or my impending old age, or doom, that while I used to amble into a used book shop with no particular book in mind and leave satisfied with a bulging grocery bag, now I find myself a slave to a roster. Before, I would keep a vague running list of books I wanted to read, which basically encompassed the whole of literature as I understood it, so that any pile of two dollar books was bound to yield several items of interest. And now I want what I want when I want it.
Under the Net was a long-time bee in my bonnet. There are so many Iris Murdoch novels, in so many printings; they are a fixture in secondhand book shops. When I realized that this one, her first, was on the Modern Library list, I thought I was bound to come across it before too long. For nine months it eluded me, although in pursuit of that title I managed to read five other Murdoch novels. In the same way, I read Black Boy instead of Native Son, and Young Torless instead of The Man Without Qualities, and loathsome Henderson the Rain King instead of Herzog. Which is a good thing! I'm better for having read them all. But every year that goes by finds me less happy to cast the net in this haphazard fashion (hence my summer of discontent). I require specific titles now. I've undergone a paradigm shift. It's kind of a bummer, actually.
(I do know all about libraries, and I cherish them. But I like to own the books that I read, and I like to read books that I own. In case there is an emergency. It's a thing about me.)
Anyway, I wanted to read Under the Net, and I got sick of looking in vain and reading things other than Under the Net, and I finally outsourced the job to the internet. I felt sort of guilty about this, like buying a pet instead of adopting. I did it media mail, which seemed more virtuous, in the manner of hard church pews and wooden teeth. After eight days, the novel arrived. All things considered, the experience was obscenely convenient.
Someone once said (it was me) that Iris Murdoch wrote so many novels that if you are in the mood to read something by her, there is probably a fresh one available. It’s like having a harem wherein all the inmates are related to one another and look alike, yet retain sterling qualities of their own. I quote myself not because I'm the last word on Iris Murdoch, but because the metaphor has useful application here. If Murdoch's huge oeuvre is a harem of related women, then reading Under the Net is like going in back in time to meet their matriarch, coltish and sepia-toned on the day she was plucked from her village.
I have always thought that The Sea, The Sea stands apart from the other Murdoch novels I've read, largely because of the spicy and pitch-perfect first person narrative. I thought, perhaps, that it was a prime example of late-ish Murdoch at the height of her powers. So I was surprised to discover find that her first novel, published in 1954, has more in common with The Sea² (1978), than any of the works published between (that I've read, of course). Like The Sea², Under the Net is written in the first person. The earlier novel's narrator, translator and occasional writer Jack Donoghue, is kind of a feckless, easier-going, impoverished prototype of Charles Arrowby, who came a quarter century later. I suppose they really don't have much in common, since Arrowby's whole being is centered on being the opposite of feckless and easy-going and impoverished. But they are both educated, afraid of commitment, and very funny. They are memorable, varying somewhat from the stock cast of awful aesthetes and academes who populate the majority of her novels. Not that Donoghue isn't one of those, but his way with words is considerably more amusing. Here, kicked out of one rent-free situation, he ponders the future:
It was certainly something of a problem to know where to go next. I wondered if Dave Gellman would harbour us. I fondled the idea, though I suspected it was no good. Dave is an old friend, but he's a philosopher, not the kind that tells you about your horoscope and the number of the beast, but a real one like Kant and Plato, so of course he has no money.
The whole experience of Under the Net was surprising. Unless one has made a pointed effort to study them, one can have only a hazy sense of the zeitgeist of decades and places in which one hasn't lived. That said, Iris Murdoch is so relentlessly urbane and modern that Under the Net seemed to me much younger than its 55 years. I'm aware that drinking and being feckless and running around was not unheard of in the 1950s--I did read Lucky Jim (also published 1954. In fact, I think Jim Dixon could conceivably have enjoyed a matey bender with Jack Donaghue and company). But the people of Under the Net seemed very hip, or at least as though they could have easily populated a later novel. Perhaps it's not that Murdoch was cutting-edge, but that her eternal engagement with the pedantic, the bachanalian, and the emotionally stunted will never go out of style.
The plot of Under the Net doesn't bear summarizing. It is farcical and, I dare say, "rollicking;" there's even a dog who stars in movies. I am unused to feeling so little feminist rage during a Murdoch novel; this one was light-hearted and lacked the sinister undertones present in, for example, The Sacred and Profane Love Machine and Message to the Planet. Under the Net could even be called a buddy novel; Donoghue and his Irish familiar, Finn, reminded me not a little of my favorite John Irving book, The Water Method Man, and the adventures of Bogus Trumper (also a translator), and Merrill Overturf described therein.
I find it odd that this novel would make it onto the Modern Library list over TS². It's a little fluffy. But, as we've been hearing so much recently, lists are problematic, and the Modern Library list is so problematic on so many levels that its defects no longer shock. Pluralities are weird. Still, Under the Net's presence on the list caused me to hunt it down and read it, which not only caused me to have a nice Sunday afternoon (it's short), but freed up a spot on the roster. That's one for the list. Then again, the existence of a list only serves to codify things and thus intensify the need for a roster, which causes me to have fewer pleasant afternoons digging through bookshops, and more neurotic episodes on the internet. That's one against.
Anyway, Under the Net was fun and I liked it. I'll leave you with a word from Jack, who has troubles of his own:
I glanced hastily through the manuscripts. Once before, in a rage, Magdalen had torn up the first sixty stanzas of an epic poem called And Mr Oppenheim Shall Inherit the Earth. This dated from the time when I had ideals. At that time too it had not yet become clear to me that the present age was not one in which it was impossible to write an epic. At that time I naively imagined that there was no reason why one should not attempt to write anything that one felt inclined to write. But nothing is more paralyzing than a sense of historical perspective, especially in literary matters . . . But to return to Mr Oppenheim; my friends had criticized the title because it sounded anti-Semitic, though of course Mr Oppenheim simply symbolized big business, but Madge didn't tear it up for that, but out of pique, because I broke a lunch date with her to meet a woman novelist. The latter was a dead loss, but I can back to find Mr Oppenheim in pieces. This was in the old days, but I feared that the performance might have been repeated. Who knows what thoughts were passing through that girl's mind while she was deciding to throw me out? There's nothing like a woman's doing you an injury for making her incensed against you. I know myself how exasperating it is of other people to put themselves in positions where you have to injure them.
Modern Library Revue: #20 Native Son
I think I was the last of my age peers to read Native Son; I feel like most of us read it in school. Either I never had it in a course, or I did, but it was during one of my bouts of absenteeism from class and scholastic responsibility. So I got it from the library a few years ago. I had no idea what it was about, but I knew that it was a book about race and a Huge Deal.
I started the novel, and I had a feeling of dread from the page one, and when I got to the severed head I quit, feeling dispirited. There is a moment in the (completely unrelated) Fitzgerald novel The Beautiful and the Damned, wherein three elite gentleman make plans to see a show: "The thing is tersely called 'The Woman,'" says one character. "I presume that she will pay." Stripped entirely of its context, I have always felt that this remark is an elegant statement of life's facts. At the time of my first reading, Richard Wright's novel seemed to reaffirm my conviction that this is true (and this, mind you, was before I had even got to poor Bessie). This particular woman, severed-headed Mary, was pretty awful, but I didn't want to read about her getting stuffed in the furnace. And things seemed so inevitable for Bigger Thomas; the only place for the story to go was down. Talking of tropes, we all know what happened when a black man was suspected to have looked sideways a white woman. Bigger Thomas' goose was cooked long before he put a pillow over Mary's face.
Much later it occurred to me what a fraud I am. How, I thought, am I going to go crazy for 2666, happily slogging through 100 pages of murdered women, while this crucial American work offends my delicate sensibilities? So I returned to the novel with my nerves steeled. I gave it another chance, and it knocked my everloving socks off.
In retrospect, I am discomfited that I took Bigger so personally the first time I picked up the novel, and that I actually to an extent, failed to separate the author from his creation. I have never assumed that John Fowles sympathized with men who hold women hostage in their basements, so why would I think Richard Wright was holding up this crapbag Bigger as a delightful specimen of humanity? Why did it suddenly matter that the woman always pays? Surely a book so lauded wouldn't deal in pointless female victimization (okay, one might, especially if it was by Norman Mailer, but that's a story for another day).
Wright's novel begins with Bigger Thomas doing a series of hateful things. Mean to his sister, mean to his long-suffering, hard-working mother, mean to his friends, prone to violent rages. Starting the novel, I admit I had that ignoble instinct I so hate when I hear it from the mouths of right-wing reactionaries; the sentiment that basically goes "Do what your parents did, Sir. Get a job, Sir." When I got near the end of the book, to read basically the same words come out of the miserable dickhead State's Attorney's mouth during Bigger's (sham) trial, that hurt.
No! He cursed his mother! He said that he did not want to work! He wanted to loaf about the streets, steal from newsstands, rob stores, meddle with women, frequent dives, attend cheap movies, and chase prostitutes!
It's a shocking sensation, to see yourself partially mirrored in the novel's villainous bigot. That's good art, friends! Especially because by the time you've made it to the State's Attorney you, (I, that is) do feel pretty terrible for Bigger. And also just terrible.
Wright's pacing is brilliant. It starts hard. It's a realistic sort of pace. It doesn't get easier as the novel goes on, but things get explained. They start to make more sense. In life, when you hear about something terrible, you usually haven't prepared for it by reading a treatise on human behavior and motivations beforehand. And, unfortunately, often you don't want to take the time to reflect on said behavior and motivations. You just want to say, "Do what your parents, did, Sir. Get a job, sir." You want to put the book down.
I think I really quit the novel that first time because I had a premonition that it was going to be hard, and possibly even hard on me. I suspected that it wouldn't let me walk the easy, feel-good path with regard to racism - the Newbery Medal kind of way, where even though terrible things happen, humanity mostly prevails and, ideally, a triumph or two of the human spirit takes place. The kind of book, additionally, that lets me, as a white person, feel confident that I would have been friends with Cassie Logan even if the town disapproved.
But Native Son is not a novel that wants to hold anybody's hand. Native Son does not want to tuck you into bed at night and reassure you that you are with it. Wright, starting as he did with a hugely unlovable character, dares you to face certain realities. Namely, that discussions of oppression are infinitely more comfortable when members of the oppressed race in question are doing things like passively resisting, writing monumental novels, and being elected president by a majority of the country so that one can say "My goodness, we've come a long way!" But that's stupid. The reason that institutionalized racism is despicable is because it takes away humanity. Obviously it makes the oppressor ugly; but it can make its victims ugly too. Ugliness breeds ugliness. Why should a book about something ugly be made palatable so that I, a white lady, can feel uplifted?
Normally I don't read authors' explanations of their work, because I prefer the author to not be tiresome and talk about himself all the time, when he could be working hard to create more entertainment for me. However, I found Wright's essay "How 'Bigger' was born" (included in some editions of Native Son) fascinating. I'm not crazy about the writing style in Native Son, although it more than serves its purpose in the novel, but I love Richard Wright's prose in the Bigger essay (and in Black Boy). I enjoy the prose, and it was illuminating to learn why Wright sat down to write this novel. But the essay mainly struck me as impressive proof positive that the author set out to do a very specific something, and, in fact, did that very thing.
I had written a book of short stories which was published under the title of Uncle Tom's Children. When the reviews of that book began to appear, I realized that I had made an awfully naive mistake. I found that I had written a book which even bankers' daughters could read and weep over and feel good about. I swore to myself that if I ever wrote another book, no one would weep over it; that it would be so hard and deep that they would have to face it without the consolation of tears. It was this that made me get to work in earnest.
Well, I'm hear to say that this is hard and deep, and that I faced it without the consolation of tears. The man did what he wanted. And, I would add, did in spite of "the fears which a Negro feels from living in America - standing over me, draped in white, warning me not to write."
Post Script: A twisted coincidence: lest you think this book and its indictment of American society is no longer relevant, consider this: as I was writing this Revue, Henry Louis Gates, Jr., who is fucking quoted on my copy of this novel, was arrested for, it would seems, entering his home while black.
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