I’m not a completist by nature or inclination. Even if I enjoy a novel or album a great deal, I tend to let chance determine what the next thing is I’ll read or listen to. There are very few artists whose entire catalog I’ve ever felt compelled to digest: Kubrick, The Beatles, most Alice Munro, possibly no one else. And, for reasons I’m not sure I fully understand, Ian McEwan, whom I began to read in my early 20s, and whom I’ve doggedly continue to follow, recently finishing his latest, Machines Like Me. His fifteenth: fifteen of this man’s books I’ve read, and having recently taken note of my unusual McEwan completism, it seemed worth thinking about the new novel in the context of his body of work, the only prolific author for whom I could attempt to do so.
It’s difficult to think of a writer with a more interesting, and in many ways desirable, career trajectory than Ian McEwan. His debut novel, The Cement Garden, published in 1978, was a Grand Guignol tale of death and incest, an unnatural (or perhaps all too natural) relationship that develops between a sister and brother when their parents die and they are left with their younger siblings in the house. It is a very good book: by turns funny, frightening, and powerfully creepy.
Creepiness is a theme that runs through the early part of McEwan’s corpus, a body of work that earned him the nickname Ian Macabre. [SPOILERS AHEAD] There is the creepiness of incest in The Cement Garden, the creepiness of child molestation in the story collection First Love, Last Rites, the creepiness of child abduction in The Child in Time, the creepiness of serial murder in The Comfort of Strangers, and the creepiness of bestiality in Black Dogs. I don’t mean this pejoratively—while this urge to shock and disgust can sometimes mark out an immature writer, in the case of McEwan’s early work, the unnatural seems natural, less motivated by the urge to provoke than the urge to explore the limits of human behavior.
My sense is that a reader in the 1980s would have thought of him as an oddity, maybe Iain Banks with better style chops. My sense certainly is that a reader of this era would have been shocked to learn that, by the early 2000s, Mr. McEwan would be a standard bearer of popular literary fiction. A run of three novels—Amsterdam, Atonement, and Saturday—cemented his mainstream reputation as surely as The Cement Garden had cemented his fringe reputation. The one-word titling suggests a narrowing shift in intent, and indeed, I believe this mid-career makeover to be intentional, as much as such a thing is possible, anyway. These books trim away much of the gothic fat of the early work, and present a kind of streamlined, updated Victorian realism, especially in the runaway bestseller Atonement.
This is his high-water mark, the ideal synthesis of McEwan’s genre and literary talents. Atonement simultaneously manages to be a legitimate romance, a mystery, and a World War II narrative without sacrificing much in the way of stylishness or sentence-level pleasure. It is either the most highbrow middlebrow book ever written, or the most middlebrow highbrow (I mean this as a compliment), and the same could be said of Mr. McEwan’s general authorial talents. In an era of intense specialization and branding, it is the extremely rare writer who manages to wear as many hats as McEwan does, especially during this middle period.
Solar, published in 2010, inaugurated McEwan’s late phase, the one that is perhaps my least favorite of the three, despite the various pleasures it still reliably serves up. Like James Michener with states, these are McEwan’s Idea Books, each one easily articulable in terms of social problem or dramatic conceit: Solar (Climate Change); Sweet Tooth (MI5); The Children Act (Euthanasia); Nutshell (Hamlet as Performed by a Talking Embryo). And now, Machines Like Me (Robots), the title of which I find impossible not to subvocalize with the emphasis on like, briefly imagining a book about robots being fond of the narrator. The book is an alternate history in which technology and AI advanced faster than it has in our timeline, producing human simulacra by the early 1980s. The narrator, Charlie—for reasons that are not entirely clear, to us or to him—purchases a robot named Adam (the male robots are Adams, the females Eves; the book notes that seven Eves have been dispatched to Riyadh, a not very good joke). Adam, over the course of the proceedings, develops feelings of what he describes as love for Charlie’s romantic interest, Miranda. The novel proceeds as a bizarre love triangle, between the three, with extra bits of intrigue thrown in to move things along.
This plot machinery includes a secret backstory for Miranda involving a false rape allegation against a man named Gorringe as revenge for his actual rape of her friend Mariam. There’s also: her dying father, an orphan boy named Mark, Charlie’s use of Adam as a kind of automated day trader, and the recurring guest appearance of an Alan Turing who is still very much alive in this timeline. This accumulation of the exciting and implausible begins to feel a little—and it brings me no joy to say this—silly. The late-phase books all, to varying extents, have an aspect of the ridiculous to them; or an aspect of the fun, depending on one’s point of view. Machines Like Me joins its brethren in a genre unique to McEwan, one that as I read, I began to think of as “high-concept intellectual potboiler.”
The intellectual part should not be understated. Take, for
instance, this gorgeous passage, describing a moment, one of the novel’s best
scenes, when Miranda’s father mistakes Charlie for a robot:
There are occasions when one notices the motion of an object before one sees the thing itself. Instantly, the mind does a little colouring in, drawing on expectations, or probabilities. Whatever fits best. Something in the grass by a pond looks just like a frog, then resolves itself into a leaf stirred by the wind. In abstract, this was one of those moments. A thought darted past me, or through me, then it was gone, and I couldn’t trust what I thought I’d seen.
Even McEwan’s worst books, and this is not one of his worst, are full of this kind of writing, almost somnolently smooth and controlled. The command of language goes a long way toward pulling together the strings of material that, in a lesser writer’s hands, might feel completely absurd (that Nutshell, with its pithy, oratorical embryo of a narrator, was even partially successful, is a testament to McEwan’s ability). The book is also full of interesting, if not always bleeding-edge, ideas about AI and consciousness. Adam has a precocious teenager’s love for earnest philosophy, a tendency played for laughs, but one that also produces many genuinely interesting digressions:
He said, “I’ve also been thinking about vision and death…We don’t see everywhere. We can’t see behind our heads. We can’t even see our chins. Let’s say our field of vision is almost 180 degrees, counting in peripheral awareness. The odd thing is, there’s no boundary, no edge. There isn’t vision and then blackness, like you get when you look through binoculars. There isn’t something, then nothing. What we have is the field of vision, and then beyond it, less than nothing.”
“So this is what death is like.”
Nonetheless, despite the book’s many pleasures, one senses in Machines Like Me, as to some extent is true in all these late-phase books, a master prioritizing his own amusement. McEwan is clearly intellectually curious, and these Idea Books are clearly fun: fun to research, fun to think about, fun to write. And, to be fair, pretty fun to read. Having already dominated the British literary landscape for more than a quarter century, having produced several bestsellers, having won the Booker and just about every award that can be won, it is difficult to begrudge the man his pleasure. Nonetheless, there is an aspect of the hobbyist to it, the retiree retreating to his basement to fool with model trains.
As a lifelong fan of McEwan’s, this reader—and I suspect others—pines for a late-late phase. One that sees him leave the playroom and evolve once more while recapturing his earlier form, returning to novels of the small and intent variety. It’s not impossible to imagine—as much as McEwan’s subject matter has changed from The Cement Garden to Machines Like Me, if you read closely, certain elements and preoccupations are consistent: human desire, the ramifications of sex, the violence that people can so easily do to each other. The creepiness of the earlier work is less intense, more diffuse, but it is still very much there. McEwan received a great deal of justified flack recently, for an interview in which he spoke about the possibilities of science-fiction exploring the ethical ramifications of AI, seeming unaware of Isaac Asimov and the last 50 years of the genre; that said, to my knowledge, until the publication of Machines Like Me, sci-fi had yet to explore the possibilities of robot-human cunnilingus. In a gobsmacking moment early on, Charlie listens to Miranda and Adam going at it in her apartment overhead and vividly imagines the scene:
Minutes later, I almost looked away as he knelt with reverence to pleasure her with his tongue. This was the celebrated tongue, wet and breathily warm, adept at uvulars and labials, that gave speech its authenticity.
This is, on the one hand, a somewhat insane thing to write, but on the other it is characteristic McEwan—the unblinking, simultaneously scientific and voyeuristic eye. Even stately Atonement, a sweeping historical tragedy set in a 1930s country manor, hinges on a vulgar love letter and features a sexual tryst that includes the word “membrane.” Yes, the creepiness of the early novels remains. It is a productive, idiosyncratic creepiness that I personally find more compelling than the big ideas of his last few novels.
This, perhaps, explains why 2006’s On Chesil Beach is my personal favorite of McEwan’s novels. It tells the story of a young married couple trying and failing to have sex on their honeymoon. That’s it. It is simple and heartbreaking, paring away almost all plot machinery, distilling McEwan’s thematic interests down to the essential: two people, and the question of how to exist together. Its creepiness is the greatest creepiness of all, one that Machines Like Me also explores, but in a much more labored and labyrinthine style: the inescapable reality of human consciousness—the way we are trapped in our own minds, never able to really know anyone else in the end.
This year’s New York Times Notable Books of the Year list is out. At 100 titles, the list is more of a catalog of the noteworthy than a distinction. Sticking with the fiction exclusively, it appears that we touched upon a few of these books and authors as well:
The Association of Small Bombs by Karan Mahajan (I Want Complete Freedom When I Write: An Interview with Karan Mahajan)
Barkskins by Annie Proulx (A Summer Reading List for Wretched Assholes Who Prefer to Wallow in Someone Else’s Misery)
Children of the New World by Alexander Weinstein (Humanity’s Dogged Endurance: On Alexander Weinstein’s Children of the New World)
Here I Am by Jonathan Safran Foer (A Year in Reading: Jonathan Safran Foer)
The Mirror Thief by Martin Seay (Martin Seay’s The Mirror Thief as Explained by Martin Seay)
Moonglow by Michael Chabon (Two Kinds of Aboutness: The Millions Interviews Michael Chabon)
Ninety-Nine Stories of God by Joy Williams (50 Reasons Why You Should Read Joy Williams)
Nutshell by Ian McEwan (The Body Doesn’t Lie: On Ian McEwan’s Nutshell)
Still Here by Laura Vapnyar (Making Strange: On Laura Vapnyar’s Still Here)
Swing Time by Zadie Smith (Nameless and Undefined: On Zadie Smith’s Swing Time)
Underground Railroad by Colson Whitehead (Scars That Never Fade: On Colson Whitehead’s The Underground Railroad)
The Vegetarian by Han Kang (Taste Is the Only Morality: On Han Kang’s The Vegetarian)
War and Turpentine by Stefan Hertmans (Brutal and Tender: On Stefan Hertmans’s War and Turpentine)
Zero K by Don DeLillo (The End of the Self Is the End of the Universe)
A few months ago, like the dull thuds of a heart beginning to beat, I heard the first stirrings of Ian McEwan’s new novel as publicists and publishers began preparing its delivery into the world. Interviews appeared, an atmospheric trailer that revealed absolutely nothing was released on McEwan’s Facebook page, a blurb was posted on his publisher’s website. By then we had a short description, and we knew that there was something a little special about this one: the novel would be narrated by a fetus.
The novel’s first line sets the tone: “So here I am, upside down in a woman.” Now that’s what I call first-person limited. As for plot, it’s straightforward enough, “the classic tale of murder and deceit” we were promised in the blurb: pregnant Trudy has taken on a lover, Claude. Together, they plan to murder Trudy’s husband, John, who is also Claude’s brother. The motive? Money, of course, in the form of the marital home, a “Georgian pile on boastful Hamilton Terrace” whose “six thousand aching square feet will buy you seven million pounds,” even in its dilapidated state.
Our unborn narrator, privy to these murderous musings, begins by discussing the abstractions he has to dwell on since he has yet to see anything, although it’s soon clear that he’s awfully well informed about things like the U.S. constitution, climate change, and contemporary world politics for someone who hasn’t taken his first breath yet. He (and we know from the “shrimp-like protuberance” between his legs that he is a he) soon explains that he’s learned most of these things by listening to the podcasts his mother plays at night when she can’t sleep. Our narrator has pretentious tastes: an audiobook of James Joyce’s Ulysses “thrills” him, but sends his mother to sleep.
He also knows a lot about wine, which he is apparently able to taste even though it is “decanted through a healthy placenta.” McEwan enjoys peppering his novels with mouth-watering descriptions of food and drink (I often dream of the seafood stew in Saturday), and he hasn’t found a reason not to do so, quite elaborately, even from this undeveloped perspective. A Pouilly-Fumé taken in a moment of high emotional intensity is “too thin, too piercing,” while an earlier Pinot Noir is “a mother’s soothing hand” whose “hint of violets and fine tannins suggests that lazy, clement summer of 2005, untainted by heatwaves though a teasing, next-room aroma of mocha, as well as more proximal black-skinned banana, summon Jean Grivot’s domaine in 2009.”
This unborn baby knows his grapes, and a lot more besides.
Much of McEwan’s work can be understood as a knotted tension between realism and — what, exactly? Let’s call it falsehood. Atonement and Sweet Tooth both pulled the narrative rug from beneath the reader’s feet, tipping the story into meta-fiction. Personally, I was delighted by McEwan’s bravura — by the clean, clever way the narrative coiled back upon itself — but I know readers who are unimpressed by such tricks. Solar and Amsterdam, while not entirely unpleasant, offered little depth in their leap towards satire. The Children Act bored me with its clunky symbolism and Dickensian social commentary. As Tessa Hadley put it in her review of that novel, “[r]ealism seems beside the point after a while: it’s more like being inside the workings of an allegory or a parable.”
But at a sentence-level, McEwan’s work remains that of an old-fashioned realist. In a lecture he gave at Harvard University in 2012, he stated that one of the novel’s supreme virtues was “the air of reality, the solidicity [sic].” In the same lecture, McEwan stated: “I have refused to give my character wings.”
Now, with Nutshell, McEwan has nudged his hallowed realism onto unsteady ground. Although the story itself is realistic enough, and steeped in McEwan’s usual attention to detail, the voice that tells it to us is, in a way, complete fantasy. The novel might as well be told from within the consciousness of a dog, a ghost, or a piece of furniture.
The wine tasting, which I described above, is part of the problem, but so are the metaphors. Our narrator feels the sound of a cork drawn from a Jean-Max Roger Sancerre “like the caress of a summer breeze,” “innocent toes” are imagined lined up “like children in a family photo,” his first headache is “a gaudy bandana,” a moment of silence is “creamily thick” while at another moment something “hangs in the air, like a Beijing smog.” Some of these comparisons are quite good, although most are barren of the thematic resonance that would make them great. Sometimes the writing strains and groans with the pressure of its own self-conscious preciosity, as when the narrator pictures his mother “youngly slumped” on a table and then tells us he “insist[s] on the adverb,” which means that McEwan does. You can almost see him penciling that in for his editor.
More importantly, the metaphors don’t make sense because our narrator has never experienced or seen any of the vehicles he uses, just as he’s never seen a table or knows what it is to slump. And I refuse to believe he picked all that up from podcasts. Any realism in this novel is undermined by the simple fact that a fetus can’t know what this fetus knows. An unborn baby can’t differentiate between an Échézeaux Grand Cru and a Romanée-Conti from the snugness of the womb, an unborn baby can’t “picture a hayloft, off which a hundred-kilo sacks of grain is tossed to the granary floor” and compare that image to the sound of his mother’s beating heart. It is not improbable, like some plot points of other McEwan novels; it is impossible.
I’m doing what I shouldn’t do, which is to dissect the basic realism of the novel’s conceit. In Sweet Tooth McEwan gave us a constructed narrator, a fiction, who is a voracious reader of realist fiction — Serena Frome likes novels that mention real events, real people, and real places. Like McEwan himself, who was thrilled in his youth to find a reference in a novel he was reading to a real illustration from Punch that he was able to look up, Frome reads to see fact collapse within fiction.
The in-utero narrator of Nutshell is, by comparison, a dreamer. At one point in the story, drunk on the bottle of Sauvignon Blanc his mother has imbibed on her own (or, as it were, in his company), he spreads his imaginative wings and visualizes for us the conversation occurring at that moment between his father and his uncle. Upon returning to the womb, he writes, “One could make a living devising such excursions,” which is of course exactly what McEwan has done as a novelist.
So perhaps we have here an indication that the author has given up on his obsession with the real, that he has come to terms with the fact that he writes about characters and events that are not factual. He has dealt with the question: if none of this is real, then why go to such lengths to make sure that it appears to be?
The moment of fiction doesn’t last, though. In the next line, the narrator thinks, “But the actual, the circumscribed real, is absorbing too and I’m impatient for Claude to return and us what really happened.” Old habits are hard to kill.
Still, it looks like McEwan, this once at least, has decided to shuffle off the mortal coil of realism in favor of an impossible point of view. I applaud his new purpose because the payoffs are worth it. For all its un-believability, Nutshell’s narrator offers us interesting moments, and gives McEwan the chance to show off some fresh writing. Particularly good are scenes of high emotion described from within Trudy’s anatomy. McEwan replaces the smiles, blushes, glances, and head movements that are the fiction writer’s traditional arsenal of “telling” descriptors with even more telling organ movements. A moment of hesitation in a conversation is rich with unspoken feeling: “my mother’s heart begins a steady acceleration. Not just faster, but louder, like the hollow knocking sound of faulty plumbing. Something is also happening in her gut. Her bowels are loosening, with a squeaky stretching sound, and higher up, somewhere above my feet, juices race down winding tubes to unknown destinations.” The body doesn’t lie.
Likewise, sex between the murderous lovers becomes a particularly disturbing turbulence when described from within. The pressure of a penis penetrating near our narrator’s skull, swallowed sperm being converted into nutrients, these are small horrors that seem at times more criminal than the murder at hand.
Another interesting aspect of the book is the narrator’s unequivocal love for his mother, a love that remains troubled but true over the course of the novel, despite her desire to kill the father who has all the fetus’s sympathy. Here McEwan is using William Shakespeare as his touchstone. The book’s epigraph is from Hamlet, and the novel recycles some of the Danish play’s basic story elements, with our narrator as an unborn Hamlet.
As in Hamlet, there is poison, although not administered in the ear, and while the cuckolded father is plain John, his brother and rival lover has the unusual name of Claude, too close to Claudius not to be a wink. Another allusion: once their dark deed is done, McEwan has Claude and Trudy order Danish take-away (“open sandwiches, pickled herring, baked meats,” maybe from Snaps & Rye in nearby Notting Hill?).
And in the role of Gertrude, we have Trudy. The Queen of Denmark fascinates because it’s hard to know how duplicitous she is. Hamlet’s attitude towards her shifts between pity, hatred, resentment, and affection. While Nutshell’s narrator disapproves of his mother’s actions, his blame and anger are always directed at his uncle, and in his fantasies he saves her from him. Like Gertrude, Trudy never comes off as the villain, and our young hero seeks revenge on his uncle alone.
For all her motherly defects Trudy remains something of an enigma in the book, a half-realized character. John is the poet — hopeful, naïve, generous — and Claude the over-eager younger brother, slimy almost to the point of caricature. But what about Trudy? An early story about a dead cat and a late reference to her mother do little to give us a better of understanding of who she is. She’s beautiful, we know that. And smarter than Claude. And unlike him she feels uncertainty, remorse, and regret. But what does she like? What does she want? She has no friends, no family. No job and no interests, other than drinking — and even there she seems less knowing than Claude and her unborn child. She doesn’t leave the house for the duration of the novel.
Maybe that’s the point. To our narrator she is the mother, and he doesn’t want her to be anything more or less. The house she doesn’t leave is akin to the womb her unborn son can’t leave, until he can. Near the end of Nutshell, when the narrator has grown almost too big for the womb, he says, “I wear my mother like a tight-fitting cap.” It’s no longer she who bears him, but he who wears her.
My questions about McEwan’s devotion to realism seek to prod the aesthetic motivations behind his new novel. Realist or not, though, McEwan’s abilities as a fiction writer are undeniable. In Nutshell especially he demonstrates his skill with pacing. He ends each chapter with a satisfying morsel that moves things along. The murder plot remains taut throughout and, thanks to a certain owl poet who probably isn’t what she seems, not altogether as straightforward as the reader might first assume. The climax delivers the right amount of action and the dénouement settles things in a satisfying way thanks to the agency of our narrator.
There remains only to see if McEwan will follow this new path and continue to explore the chaos of invention, or if he will return to the comforting order of fact.
Out this week: Nutshell by Ian McEwan; Jerusalem by Alan Moore; Commonwealth by Ann Patchett; Black Wave by Michelle Tea; Umami by Laia Jufresa; Loner by Teddy Wayne; Little Nothing by Marisa Silver; Every Kind of Wanting by Gina Frangello; Avid Reader: A Life by Robert Gottlieb; This Vast Southern Empire by Matthew Karp; When in French by Lauren Collins; and Intimations by Alexandra Kleeman. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
This year is already proving to be an excellent one for book lovers. Since our last preview, we’ve gotten new titles by Don DeLillo, Alexander Chee, Helen Oyeyemi, Louise Erdrich; acclaimed debut novels by Emma Cline, Garth Greenwell, and Yaa Gyasi; new poems by Dana Gioia; and new short story collections by the likes of Greg Jackson and Petina Gappah. We see no evidence the tide of great books is ebbing. This summer we’ve got new works by established authors Joy Williams, Jacqueline Woodson, Jay McInerney, as well as anticipated debuts from Nicole Dennis-Benn and Imbolo Mbue; in the fall, new novels by Colson Whitehead, Ann Patchett, and Jonathan Safran Foer on shelves; and, in the holiday season, books by Javier Marías, Michael Chabon, and Zadie Smith to add to gift lists. Next year, we’ll be seeing the first-ever novel (!) by none other than George Saunders, and new work from Kiese Laymon, Roxane Gay, and (maybe) Cormac McCarthy. We’re especially excited about new offerings from Millions staffers Hannah Gersen, Sonya Chung, Edan Lepucki, and Mark O’Connell (check out next week’s Non-Fiction Preview for the latter).
While it’s true that no single list could ever have everything worth reading, we think this one — at 9,000 words and 92 titles — is the only 2016 second-half book preview you’ll need. Scroll down and get reading.
Here Comes the Sun by Nicole Dennis-Benn: In a recent interview in Out magazine, Dennis-Benn described her debut novel as “a love letter to Jamaica — my attempt to preserve her beauty by depicting her flaws.” Margot works the front desk at a high-end resort, where she has a side business trading sex for money to send her much younger sister, Thandi, to a Catholic school. When their village is threatened by plans for a new resort, Margot sees an opportunity to change her life. (Emily)
Heroes of the Frontier by Dave Eggers: The prolific writer has made his reputation on never picking a genre, from starting the satirical powerhouse McSweeney’s to post-apocalyptic critiques on the tech world. But if there’s one thing Eggers has become the master of, it’s finding humor and hope in even the most tragic of family situations. In Eggers’s seventh novel, when his protagonist, Josie, loses her job and partner, she escapes to Alaska with her two kids. What starts as an idyllic trip camping out of an RV dubbed Chateau turns into a harrowing personal journey as Josie confronts her regrets. It’s Eggers’s first foray into the road trip novel, but it’s sure to have his signature sharp and empathetic voice. (Tess)
Multiple Choice by Alejandro Zambra: The Chilean writer Zambra’s new book is: a.) a parody of that nation’s college-entrance Academic Aptitude Exam, b.) a parody of a parody of same, c.) an exercise in flouting literary conventions, d.) all of the above. The correct answer is d.) — because this sly slender book, translated from the Spanish by Megan McDowell, is divided into 90 multiple-choice questions suggesting that how we respond to a story depends on where the writer places narrative stress. The witty follow-up questions suggest that the true beauty of fiction is that it has no use for pat answers. For example: “What is the worst title for this story — the one that would reach the widest possible audience?” (Bill)
Ninety-Nine Stories of God by Joy Williams: Williams is the sort of writer one “discovers” — which is to say the first time you read her, you can’t believe you’ve never read her before; and you know you must read more. Ninety-Nine Stories of God is a “slim volume,” according to Kirkus, at the same time it lives up to its name: each of the very-short stories (yes, there are 99 of them) features God and/or the divine — as idea, character, or presence. In the world of Joy Williams, we can expect to meet a God who is odd, whip-smart, exuberant, surprising, funny, sad, broken, perplexed, and mysterious. I look awfully forward. (Sonya)
Home Field by Hannah Gersen: The debut novel from The Millions’s own Gersen has one of the best jacket copy taglines ever: “The heart of Friday Night Lights meets the emotional resonance and nostalgia of My So-Called Life”…I mean, right? Its story bones are equally striking: the town’s perfect couple — high school football coach Dean and his beautiful sweetheart, Nicole — become fully, painfully human when Nicole commits suicide. Dean and his three children, ages eight to 18, must now forge ahead while also grappling with the past that led to the tragedy. Set in rural Maryland, it’s a story, says Kirkus, built upon “meticulous attention to the details of grief,” the characters of which are “so full, so gently flawed, and so deeply human.” (Sonya)
How to Set a Fire and Why by Jesse Ball: Jesse Ball’s last novel, A Cure for Suicide, wrestled with questions of memory’s permanence, existence, and beginning again — all subjects that, according to The New York Times, “in the hands of a less skilled writer…could be mistaken for science fiction cliché.” Ball’s newest novel, his sixth, is something of a departure. How to Set a Fire and Why takes place in a normal-enough town peopled by characters who have names like Lucia and Hal. Don’t worry, though, Ball the fabulist/moralist is still very much himself; the young narrator muses on the nature of wealth and waste as she gleefully joins an Arsonist’s Club, “for people who are fed up with wealth and property, and want to burn everything down.” (Brian)
Problems by Jade Sharma: Problems is the first print title from Emily Books, the subscription service that “publishes, publicizes, and celebrates the best work of transgressive writers of the past, present and future” and sends titles to readers each month. They’ll be publishing two original printed books a year in conjunction with Coffee House Press. Sharma’s debut is described as “Girls meets Trainspotting,” about a heroin addict struggling to keep her life together. Emily Books writes, “This book takes every tired trope about addiction and recovery, ‘likeable’ characters and redemption narratives, and blows them to pieces.” (Elizabeth)
The Unseen World by Liz Moore: Ada is the daughter of a brilliant computer scientist, the creator of ELIXIR, a program designed to “acquire language the way that human does,” through immersion and formal teaching. Ada too is the subject of an experiment of sorts, from a young age “immersed in mathematics, neurology, physics, philosophy, computer science,” cryptology and, most important, the art of the gin cocktail by her polymath father. His death leaves Ada with a tantalizing puzzle to solve in this smart, riddling novel. (Matt)
The Trap by Melanie Raabe: Translated from the German, the English version of this celebrated debut was snaffled up by Sony at the Frankfurt Book Fair and is now on its way to a big-screen debut as well. A thriller, The Trap describes a novelist attempting to find her sister’s killer using her novel-in-progress as bait (this always works). (Lydia)
Leaving Lucy Pear by Anna Solomon: The Pushcart-winning author received a lot of praise for her debut, The Little Bride, and accolades are already flowing in for her latest, with J. Courtney Sullivan calling Lucy Pear, “a gorgeous and engrossing meditation on motherhood, womanhood, and the sacrifices we make for love.” It opens with an unwed Jewish mother named Bea leaving her baby beneath a Massachusetts pear tree in 1917 to pursue her dreams of being a pianist. A decade later, a disenchanted Bea returns to find her daughter being taken care of by a strong Irish Catholic woman named Emma, and the two woman must grapple with what it means to raise a child in a rapidly changing post-war America in the middle of the Prohibition. With poetic prose but a larger understanding of the precarious world of 1920s New England, Solomon proves herself as one of the most striking novelists of the day. (Tess)
Bad Faith by Theodore Wheeler: Kings of Broken Things, Wheeler’s debut novel about young immigrants set during the Omaha Race Riot of 1919, is coming in 2017 from Little A. The riot followed the horrific lynching of Will Brown. A legal reporter covering the Nebraska civil courts, Wheeler brings much authenticity to the tale. For now, readers can enjoy Bad Faith, his first story collection. (Nick R.)
Sarong Party Girls by Cheryl Lu-Lien Tan: Described in promotional materials as both Breakfast at Tiffany’s and Emma set in Singapore, Tan’s first novel explores “the contentious gender politics and class tensions thrumming beneath the shiny exterior of Singapore’s glamorous nightclubs and busy streets.” It is also the first novel written entirely in “Singlish” (the local patois of Singapore) to be published in America. The long-time journalist — Tan has been a staff writer at The Wall Street Journal, In Style, and The Baltimore Sun — previously published a memoir called A Tiger in The Kitchen: A Memoir of Food & Family, which was praised as “a literary treat.” (Elizabeth)
Pond by Claire Louise-Bennett: Published in Ireland last year, a linked series of vignettes and meditations by a hermitess. The Guardian called it a “stunning debut;” The Awl’s Alex Balk offers this rare encomium: “the level of self-importance the book attaches to itself is so low that you are never even once tempted to make the ‘jerking off’ motion that seems to be the only reasonable response to most of the novels being published today.” (Lydia)
An Innocent Fashion by R.J. Hernández: Ethan St. James was born Elián San Jamar, the son of multiracial, working-class parents in Texas. At Yale, he befriends two wealthy classmates, who help him reinvent himself as he moves to New York to work for the fashion magazine Régine. But once he’s there, things begin to crumble. It’s described as “the saga of a true millennial — naïve, idealistic, struggling with his identity and sexuality,” and an early review says that Hernández writes in “a fervently literary style that flirts openly with the traditions of Salinger, Plath, and Fitzgerald.” (Elizabeth)
Listen to Me by Hannah Pittard: Following up The Fates Will Find Their Way and Reunion, two-time Year in Reading alum Pittard hits us with a “modern gothic” novel about a faltering marriage and an ill-fated road trip. (Lydia)
My Name Is Leon by Kit de Waal: A former magistrate who has spent years doing family law and social work in England, de Waal publishes her debut novel at the respectable age of 55, bringing experiences from a long career working with adoption services to a novel about a mixed family navigating the foster care system in the 1980s. (Lydia)
Night of the Animals by Bill Broun: A strangely prophetic novel set in London, Night of the Animals takes place in a very near, very grim future — a class-divided surveillance state that looks a little too much like our own. A homeless drug addict named Cuthbert hears the voices of animals who convince him to liberate them from the London Zoo, joining with a rag-tag group of supporters to usher in a sort of momentary peaceable kingdom in dystopian London. The book is difficult to describe and difficult to put down. (Lydia)
Break in Case of Emergency by Jessica Winter: The fiction debut of Slate editor Winter, a seriocomic look at a woman trying to do what used to be called “having it all,” dealing with a job that sucks — a send-up of a celebrity non-profit — and uncooperative fertility. Publisher’s Weekly called it a “biting lampoon of workplace politics and a heartfelt search for meaning in modern life.” (Lydia)
Behold the Dreamers by Imbolo Mbue: This is one of those debuts that comes freighted with hype, expectation, and the poisonous envy of writers who didn’t receive seven-figure advances, but sometimes hype is justified: Kirkus, in a starred review, called this novel “a special book.” Mbue’s debut, which is set in New York City at the outset of the economic collapse, concerns a husband and wife from Cameroon, Jende and Nemi, and their increasingly complex relationship with their employers, a Lehman Brothers executive and his fragile wife. (Emily)
The Nix by Nathan Hill: Eccentricity, breadth, and length are three adjectives that often earn writers comparisons to Thomas Pynchon. Hill tackles politics more headlong than Pynchon in this well-timed release. The writing life of college professor Samuel Andresen-Andersen is stalled. His publisher doesn’t want his new book, but he’s in for a surprise: he sees his long-estranged mother on the news after she throws rocks at a right-wing demagogue presidential candidate. The candidate holds press conferences at his ranch and “perfected a sort of preacher-slash-cowboy pathos and an anti-elitist populism” and his candidacy is an unlikely reason for son and mother to seek reunion. (Nick R.)
Another Brooklyn by Jacqueline Woodson: Although the National Book Award winner’s Brown Girl Dreaming was a young adult book, everyone flocked to lyrical writing that honed in on what it means to be a black girl in America. Now Woodson has written her first adult novel in two decades, a coming-of-age tale set in 1970s Bushwick, where four girls discover the boundaries of their friendship when faced with the dark realities of growing up. As Tracy K. Smith lauds, “Another Brooklyn is heartbreaking and restorative, a gorgeous and generous paean to all we must leave behind on the path to becoming ourselves.” (Tess)
Bright, Precious Days by Jay McInerney: This is the third of three McInerney novels following the lives of New York book editor Russell Calloway and his wife Corinne. The first Calloway book, Brightness Falls (1992), set during leveraged buyout craze of the late-1980s, is arguably McInerney’s last truly good novel, while the second, The Good Life (2006), set on and around 9/11, is pretty inarguably a sentimental mess. This new volume, set in 2008 with the financial system in crisis and the country about to elect its first black president, follows a now-familiar pattern of asking how world-historical events will affect the marriage of McInerney’s favorite cosseted and angst-ridden New Yorkers. (Michael)
Carousel Court by Joe McGinniss, Jr.: Each unhappy mortgage is unhappy in its own way. A man and his beautiful wife (“a face that deserves granite countertops and recessed lighting”) try to flip a house in a California development at the wrong time. Now “it’s underwater, sinking fast, has…them by the ankles, and isn’t letting go.” This is the bleak but gripping setup for McGinniss’s second novel (coming 10 years after The Delivery Man), a portrait of a marriage as volatile as the economy. (Matt)
Shining Sea by Anne Korkeakivi: Korkeakivi’s second novel — her first was 2012’s An Unexpected Guest — opens with the death of a 43-year-old WWII veteran, and follows the lives of his widow and children in the years and decades that follow. A meditation on family, the long shadow of war over generations, and myth-making. (Emily)
How I Became a North Korean by Krys Lee: Lee’s debut novel (following her praised short story collection, Drifting House), is set in and adjacent to North Korea. The novel follows three characters who meet across the border in China: two North Koreans, one from a prominent and privileged family, the other raised in poverty, and a Chinese-American teen who is an outcast at school. Together the three struggle to survive in, in the publisher’s words, “one of the least-known and most threatening environments in the world.” (Elizabeth)
Moonstone by Sjón: “One thing I will not do is write a thick book,” asserts Icelandic author Sjón, who seems to have done just about everything else but, including writing librettos and penning lyrics with Lars von Trier for Björk’s Dancer in the Dark soundtrack. Sjón’s novels often dwell in mytho-poetic realms, but Moonstone, his fourth, is set firmly in recent history: 1918 Reykjavik, a city newly awash with foreign influence: cinema, the Spanish flu, the threat of WWI. Moonstone deals with ideas of isolation versus openness both nationally and on a personal scale, as Máni navigates his then-taboo desire for men, his cinematic fantasies, the spreading contagion, and the dangers imposed. (Anne)
Insurrections by Rion Amilcar Scott: The fictional town of Cross River, Md., founded after our nation’s only successful slave revolt, serves as the setting for the 13 stories in Scott’s latest collection. Here, readers track the daily struggles of ordinary residents trying to get ahead — or just to get by. By turns heartbreaking, darkly funny, and overall compelling, Insurrections delivers a panorama of modern life within a close-knit community, and the way the present day can be influenced by past histories, past generations. Scott, a lecturer at Bowie State, is a writer you should be reading, and this book serves as a nice entry point for first-timers. Meanwhile, longtime fans who follow the author on Twitter are in no way surprised to hear Scott’s writing described as “intense and unapologetically current” in the pre-press copy. (Nick M.)
White Nights in Split Town City by Annie DeWitt: DeWitt’s first “slender storm of a novel” White Nights in Split Town City lands on the scene with a fury worthy of a cowboy western. To wit, Ben Marcus calls the book a “bold word-drunk novel,” that deals a good dose of swagger, seduction, and “muscular” prose (as corroborated by Tin House’s Open Bar). It’s a coming-of-age tale where a young girl’s mother leaves, her home life disintegrates, and she and her friend build a fort from which they can survey the rumors of the town. Laura van den Berg calls it a “ferocious tumble of a book” that asserts DeWitt as a “daring and spectacular new talent.” (Anne)
A House Without Windows by Nadia Hashimi: Hashimi, part-time pediatrician and part-time novelist (The Pearl That Broke Its Shell, When the Moon Is Low), offers readers an emotional heavyweight in her latest story, A House Without Windows. An Afghan woman named Zeba’s life changes when her husband of 20 years, Kamal, is murdered in their home. Her village and her in-laws turn against her, accusing her of the crime. Overcome with shock, she cannot remember her whereabouts when her husband was killed, and the police imprison her. Both the audience and Zeba’s community must discover who she is. (Cara)
Still Here by Lara Vapnyar: In her new novel, Russian-born writer Vapnyar dissects the lives of four Russian émigrés in New York City as they tussle with love, tumult, and the absurdities of our digital age. Each has technology-based reasons for being disappointed with the person they’ve become. One of the four, Sergey, seeks to turn this shared disappointment upside down by developing an app called Virtual Grave, designed to preserve a person’s online presence after death, a sort of digitized cryogenics. It could make a fortune, but is there anyone — other than Ted Williams or an inventive novelist – who could seriously believe that Virtual Grave is a good idea? (Bill)
Divorce Is in the Air by Gonzalo Torné: For his third novel (and first published in the U.S.), Spanish writer Torné gives us a man we can love to hate. Joan-Marc is out of work and alone as he sets out to make things right by coming clean with his estranged second wife, giving her a detailed account of his misspent life — from childhood scenes to early sexual encounters, his father’s suicide and his mother’s mental illness, and on through a life full of appetites indulged, women mistreated, and the many ways his first wife ruined him. The novel, translated from the Spanish by Megan McDowell, becomes an unapologetic exploration of memory, nostalgia, and how love ends. (Bill)
The Underground Railroad by Colson Whitehead: In 1998, Whitehead appeared out of nowhere with The Intuitionist, a brilliant and deliciously strange racial allegory about, of all things, elevator repair. Since then, he’s written about junketing journalists, poker, rich black kids in the Hamptons, and flesh-eating zombies, but he’s struggled to tap the winning mix of sharp social satire and emotional acuity he achieved in his first novel. Early word is that he has recaptured that elusive magic in The Underground Railroad, in which the Underground Railroad slaves used to escape is not a metaphor, but a secret network of actual tracks and stations under the Southern landscape. (Michael)
Here I Am by Jonathan Safran Foer: It’s tempting to play armchair psychiatrist with the fact that it’s taken JSF 11 years to produce his third novel. His first two — both emotional, brilliant, and, I have to say it, quirky — established him as a literary wunderkind that some loved, and others loved to hate. (I love him, FWIW.) Here I Am follows five members of a nuclear family through four weeks of personal and political crisis in Washington D.C. At 600 pages, and noticeably divested of a cutesy McSweeney’s-era title, this just may be the beginning of second, more mature phase of a great writer’s career. (Janet)
Nutshell by Ian McEwan: “Love and betrayal, life and death come together in the most unexpected ways,” says Michal Shavit, publisher of the Booker Prize-winner’s new novel. It’s an apt description for much of his work and McEwan is at his best when combining elegant, suspenseful prose with surprising twists, though this novel is set apart by perspective. Trudy has betrayed her husband, John, and is hatching a plan with his brother. There is a witness to a wife’s betrayal, the nine-month-old baby in Trudy’s womb. As McEwan puts it, he was inspired to write by, “the possibilities of an articulate, thoughtful presence with a limited but interesting perspective.” (Claire)
Jerusalem by Alan Moore: For anyone who fears that Watchmen and V for Vendetta writer Moore is becoming one of his own obsessed, isolated characters — lately more known for withdrawing from public life and disavowing comic books than his actual work — Jerusalem is unlikely to reassure. The novel is a 1,280-page mythology in which, in its publisher’s words, “a different kind of human time is happening, a soiled simultaneity that does not differentiate between the petrol-colored puddles and the fractured dreams of those who navigate them.” Also: it features “an infant choking on a cough drop for eleven chapters.” Something for everyone! (Jacob)
Commonwealth by Ann Patchett: A new novel by the bestselling author of gems like Bel Canto and State of Wonder is certainly a noteworthy publishing event. This time, Patchett, who also owns Parnassus Books in Nashville, Tenn., takes on a more personal subject, mapping multiple generations of a family broken up by divorce and patched together, in new forms, by remarriage. Commonwealth begins in the 1960s, in California, and moves to Virginia and beyond, spanning many decades. Publishers Weekly gives it a starred review, remarking, “Patchett elegantly manages a varied cast of characters as alliances and animosities ebb and flow, cross-country and over time.” (Edan)
Deceit and Other Possibilities by Vanessa Hua: A one-time staff writer for the San Francisco Chronicle who filed stories from around the world while winning prizes for her fiction (including The Atlantic’s student fiction prize), Hua makes her publishing debut with this collection of short stories. Featuring characters ranging from a Hong Kong movie star fleeing scandal to a Korean-American pastor who isn’t all he seems, these 10 stories follow immigrants to a new America who straddle the uncomfortable line between past and present, allegiances old and new. (Kaulie)
The Last Wolf & Herman by László Krasznahorkai: To get a sense of what Booker Prize-winning author Krasznahorkai is all about, all you need to do is look at the hero image his publishers are using on his author page. Now consider the fact that The Last Wolf & Herman, his latest short fictions to be translated into English, is being described by that same publisher as “maddeningly complex.” The former, about a bar patron recounting his life story, is written as a single, incredibly long sentence. The latter is a two-part novella about a game warden tasked with clearing “noxious beasts” from a forest — a forest frequented by “hyper-sexualized aristocratic officers.” All hope abandon ye who enter here. Beach readers beware; gloom lies ahead. (Nick M.)
Intimations by Alexandra Kleeman: Kleeman’s first novel, You Too Can Have a Body Like Mine, earned her comparisons to such postmodern paranoiacs as Don DeLillo and Thomas Pynchon. Her second book, Intimations, is a collection of 12 stories sure to please any reader who reveled in the heady strangeness of her novel. These stories examine the course life in stages, from the initial shock of birth into a pre-formed world on through to the existential confusion of the life in the middle and ending with the hesitant resignation of a death that we barely understand. With this collection, Kleeman continues to establish herself as one of the most brilliant chroniclers of our 21st-century anxieties. (Brian)
Dear Mr. M by Herman Koch: The author of the international bestseller The Dinner, will publish Dear Mr. M — his eighth novel to date, but just the third to be translated into English. A writer, M, has had much critical success, but only one bestseller, and his career seems to be fading. When a mysterious letter writer moves into the apartment below, he seems to be stalking M. Through shifting perspectives, we slowly learn how a troubled teacher, a pair of young lovers, their classmates, and M himself are intertwined. With a classic whodunit as its spine, the novel is elevated by Koch’s elegant handling of structure, willingness to cross-examine the Dutch liberal sensibility, and skewering of the writer’s life. This is a page turner with a smart head on its shoulders and a mouth that’s willing to ask uncomfortable questions. (Claire)
The Wonder by Emma Donoghue: Set in 1850s rural Ireland, The Wonder tells the story of Anna, a girl who claims to have stopped eating, and Lib, a nurse who must determine whether or not Anna is a fraud. Having sold over two million copies, Donoghue is known for her bestselling novel, Room, which she also adapted for the screen to critical acclaim. But as a read of her previous work, and her recent novel Frog Music shows, she is also well versed in historical fiction. The Wonder brings together the best of all, combining a gracefully tense, young voice with a richly detailed historical setting. (Claire)
Black Wave by Michelle Tea: Expanding her diverse body of work — including five memoirs, a young adult fantasy series, and a novel — Tea now offers her audience a “dystopic memoir-fiction hybrid.” Black Wave follows Tea’s 1999 trek from San Francisco to L.A. in what Kirkus calls “a biting, sagacious, and delightfully dark metaliterary novel about finding your way in a world on fire.” The piece has received rave reviews from the likes of Eileen Myles and Maggie Nelson, which promise something for readers to look forward to this September. (Cara)
The Black Notebook by Patrick Modiano: Modiano, a Nobel Prize winner, used a setting that shows up often in his work to give atmosphere to his 2012 novel L’herbe du nuit (appearing in English for the first time as The Black Notebook): the underdeveloped, unkempt suburbs of Paris in the 1960s. The book follows a man named Jean as he begins an affair with Dannie, a woman who may or may not be implicated in a local murder. As their relationship progresses, Jean begins to keep a diary, which he then uses decades later in a quest to piece together her story. (Thom)
Sleeping on Jupiter by Anuradha Roy: Released last year in the U.K., Sleeping on Jupiter will hit the shelves in the U.S. this October. Longlisted for the 2015 Man Booker Prize and winner of the 2016 DSC Prize for South Asian Literature, Roy’s latest novel follows the story of Nomita, a filmmaker’s assistant who experiences great trauma as young girl. When Nomita returns to her temple town, Jarmuli, after growing up in Norway, she finds that Jarmuli has “a long, dark past that transforms all who encounter it.” (Cara)
Reputations by Juan Gabriel Vásquez: Discussing The Sound of Things Falling, his atmospheric meditation on violence and trauma, with The Washington Post several years back, the Columbian writer Vásquez described turning away from Gabriel García Márquez and toward Joseph Conrad, Fyodor Dostoyevsky, Philip Roth and Don DeLillo: “All these people do what I like to do, which is try to explore the crossroads between the public world — history and politics — and the private individual.” That exploration continues in Reputations, which features an influential cartoonist reassessing his life and work as a political scourge. (Matt)
Umami by Laia Jufresa: A shared courtyard between five homes in Mexico City is frequently visited by a 12-year-old girl, Ana. In the summer, she passes time reading mystery novels, trying to forget the mysterious death of her sister several years earlier. As it turns out, Ana’s not the only neighbor haunted by the past. In Umami, Jufresa, an extremely talented young writer, deploys multiple narrators, giving each a chance to recount their personal histories, and the questions they’re still asking. Panoramic, affecting, and funny, these narratives entwine to weave a unique portrait of present-day Mexico. (Nick M.)
The Fortunes by Peter Ho Davies: Davies, the author of The Welsh Girl and a professor at University of Michigan’s esteemed MFA program, returns with a big book about American history seen through the lens of four stories about Chinese Americans. Publishers Weekly gave it a starred review, calling it “a brilliant, absorbing masterpiece,” and said it can be read as four novellas: the first is about a 19th-century organizer of railroad workers, for instance, and the last is about a modern-day writer going to China with his white wife to adopt a child. Celeste Ng says, “Panoramic in scope yet intimate in detail, The Fortunes might be the most honest, unflinching, cathartically biting novel I’ve read about the Chinese American experience. It asks the big questions about identity and history that every American needs to ask in the 21st century.” (Edan)
Loner by Teddy Wayne: David Federman, a nebbishy kid from the New Jersey suburbs, gets into Harvard where he meets a beautiful, glamorous girl from New York City and falls in love. What could go wrong? Quite a bit, apparently. Wayne, himself a Harvardian, scored a success channeling his inner Justin Bieber in his 2013 novel The Love Song of Jonny Valentine. This book, too, has its ripped-from-the-headlines plot elements, which caused an early reviewer at Kirkus to call Loner “a startlingly sharp study of not just collegiate culture, but of social forces at large.” (Michael)
Little Nothing by Marisa Silver: From its description, Little Nothing sounds like a departure for Silver, the author of the novels The God of War and Mary Coin. The book, which takes place at the turn of the 20th century in an unnamed country, centers on a girl named Pavla, a dwarf who is rejected by her family. Silver also weaves in the story of Danilo, a young man in love with Pavla. According to the jacket copy, Little Nothing is, “Part allegory about the shifting nature of being, part subversive fairy tale of love in all its uncanny guise.” To whet your appetite, read Silver’s short story “Creatures” from this 2012 issue of The New Yorker, or check out my Millions interview with her about Mary Coin. (Edan)
After Disasters by Viet Dinh: Four protagonists, one natural disaster: Ted and Piotr are disaster relief workers, Andy is a firefighter, and Dev is a doctor — all of them do-gooders navigating the after-effects of a major earthquake in India. Their journeys begin as outward ones — saving others in a ravaged and dangerous place — but inevitably become internal and self-transforming more than anything. Dinh’s stories have been widely published, and he’s won an O. Henry Prize; his novel debut marks, according to Amber Dermont, “the debut of a brilliant career.” (Sonya)
The Revolutionaries Try Again by Mauro Javier Cardenas: Cardenas’s first novel The Revolutionaries Try Again has the trappings of a ravishing debut: smart blurbs, a brilliant cover, a modernist narrative set amongst political turmoil in South America, and a flurry of pre-pub excitement on Twitter. Trappings don’t always deliver, but further research confirms Cardenas’s novel promises to deliver. Having garnered comparisons to works by Roberto Bolaño and Julio Cortázar, The Revolutionaries Try Again has been called “fiercely subversive” while pulling off feats of “double-black-diamond high modernism.” (Anne)
Perfume River by Robert Olen Butler: Butler, who won the Pulitzer in 1993, is still most well-known for the book that won him the prize, the Vietnam War-inspired A Good Scent from a Strange Mountain. In his latest, a novel, he goes back to that collection’s fertile territory, exploring the relationship of a couple — both tenured professors at Florida State — who can trace their history to the days of anti-war protests. When the husband, Robert, finds out that his father is dying, he gets a chance to confront the mistakes of his past. (Thom)
The Lesser Bohemians by Eimear McBride: McBride’s first novel, A Girl Is a Half-Formed Thing, unleashed a torrent of language and transgression in the mode of high modernism — think William Faulkner, think James Joyce, think Samuel Beckett. James Wood described its prose as a “visceral throb” whose “sentences run meanings together to produce a kind of compression in which words…seem to want to merge with one another.” McBride’s follow-up, The Lesser Bohemians, is similar in voice, though softer, more playful, “an evolution,” according to McBride. Again the novel concerns a young woman, an actress who moves to London to launch her career, and who falls in with an older, troubled actor. (Anne)
Every Kind of Wanting by Gina Frangello: Each unhappy family is unhappy in it’s own way, but the families in Frangello’s latest novel are truly in a category all their own. Every Kind of Wanting maps the intersection of four Chicago couples as they fall into an impressively ambitious fertility scheme in the hopes of raising a “community baby.” But first there are family secrets to reveal, abusive pasts to decipher, and dangerous decisions to make. If it sounds complicated, well, it is, but behind all the potential melodrama is a story that takes a serious look at race, class, sexuality, and loyalty — in short, at the new American family. (Kaulie)
A Gambler’s Anatomy by Jonathan Lethem: Lethem’s first novel since 2013’s Dissident Gardens has the everything-in-the-stewpot quality that his readers have come to expect: the plot follows a telepathic backgammon hustler through various international intrigues before forcing him to confront a deadly tumor — as well as his patchouli-scented Berkeley past. Though it remains to be seen if A Gambler’s Anatomy can hit the emotional heights of Motherless Brooklyn and The Fortress of Solitude, it will be, if nothing else, unmistakably Lethem. (Jacob)
The Mothers by Brit Bennett: The Mothers begins when a grief-stricken 17-year-old girl becomes pregnant with the local pastor’s son, and shows how their ensuing decisions affect the life of a tight-knit black community in Southern California for years to come. The church’s devoted matriarchs — “the mothers” — act as a Greek chorus to this story of friendship, secrets, guilt, and hope. (Janet)
Nicotine by Nell Zink: Zink now enters the post-New Yorker profile, post-Jonathan-Franzen-pen-pal phase of her career with Nicotine, a novel that seems as idiosyncratic and — the term has probably already been coined — Zinkian as Mislaid and The Wallcreeper. Nicotine follows the struggle between the ordinary Penny Baker and her aging hippie parents — a family drama that crescendos when Penny inherits her father’s squatter-infested childhood home and must choose “between her old family and her new one.” Few writers have experienced Zink’s remarkable arc, and by all appearances, Nicotine seems unlikely to slow her winning streak. (Jacob)
The Angel of History by Rabih Alameddine: I love a novel the plot of which dares to take place over the course of one night: in The Angel of History, it’s the height of the AIDS epidemic in San Francisco, and Yemeni-born poet Jacob, who is gay, sits in the waiting room of a psych clinic in San Francisco. He waits actively, as they say — recalling his varied past in Cairo, Beirut, Sana’a, and Stockholm. Other present-time characters include Satan and Death, and herein perhaps lies what Michael Chabon described as Alameddine’s “daring” sensibility…“not in the cheap sense of lurid or racy, but as a surgeon, a philosopher, an explorer, or a dancer.” (Sonya)
The Loved Ones by Sonya Chung: Her second novel, this ambitious story is a multigenerational saga about family, race, difference, and what it means to be a lost child in a big world. Charles Lee, the African-American patriarch of a biracial family, searches for meaning after a fatherless childhood. His connection with a caregiver, Hannah, uncovers her Korean immigrant family’s past flight from tradition and war. Chung is a staff writer at The Millions and founding editor of Bloom, and her work has appeared in Tin House, The Threepenny Review, and BOMB. Early praise from Nayomi Munaweera compares Chung’s prose to Elena Ferrante or Clarice Lispector, “elegant, sparse, and heartbreaking.” (Claire)
The Red Car by Marcy Dermansky: Dermansky’s Bad Marie featured an ex-con nanny obsessed with her employer and with a tendency to tipple on the job. The protagonist of her latest is a less colorful type: a struggling novelist suffocated by her husband, also a struggling novelist. When her former boss dies in a crash, Leah is willed the red sports car in which her nurturing friend met her end: “I knew when I bought that car that I might die in it. I have never really loved anything as much as that red car.” What is the idling heroine to make of the inheritance and the ambiguous message it contains? (Matt)
Hag-Seed by Margaret Atwood: Margaret Atwood joins authors Jeanette Winterson, Howard Jacobson, and Anne Tyler in the Hogarth Shakespeare series — crafting modern spins on William Shakespeare’s classics. Hag-Seed, a prose adaptation of The Tempest, follows the story of Felix, a stage director who puts on a production of The Tempest in a prison. If Felix finds success in his show, he will get his job back as artistic director of the Makeshiweg Festival. The Tempest is one of Atwood’s favorites (and mine, too), and Hag-Seed should be an exciting addition to the Hogarth Shakespeare series. (Cara)
The Mortifications by Derek Palacio: Palacio’s debut novel follows his excellent, tense novella, How to Shake the Other Man. Palacio shifts from boxing and New York City to the aftermath of the Mariel boatlift, set in Miami and Hartford, Conn. Here Palacio’s examination of the Cuban immigrant experience and family strife gets full breadth in a work reminiscent of H.G. Carrillo’s Loosing My Espanish. (Nick R.)
The Fall Guy by James Lasdun: Lasdun is a writer’s writer (James Wood called him “one of the secret gardens of English writing;” Porochista Khakpour called him “one of those remarkably flexible little-bit-of-everything renaissance men of letters”). Now, the British writer adds to his published novels, stories, poems, travelogue, memoir, and film (!) with a new novel, a spicy thriller about a troubled houseguest at a married couple’s country home. (Lydia)
The Boat Rocker by Ha Jin: It’s not without good reason that Jin has won practically every literary prize the United States has to offer, despite his being a non-native English speaker — he is something of a technical wizard who, according to the novelist Gish Jen, “has chosen mastery over genius.” Steeped in the terse, exact prose tradition of such writers as Nikolai Gogol and Leo Tolstoy, Jin’s work is immediately recognizable. His newest novel, The Boat Rocker, follows in the same vein. It finds Chinese expatriate Feng Danlin, a fiercely principled reporter whose exposés of governmental corruption have made him well-known in certain circles, wrestling with his newest assignment: an investigation into the affairs of his ex-wife, an unscrupulous novelist, and unwitting pawn of the Chinese government. (Brian)
Today Will Be Different by Maria Semple: Semple, formerly a writer for Arrested Development and Mad About You, broke into the less glamorous, less lucrative literary world with 2013’s Where’d You Go, Bernadette? (her second novel), which this reviewer called “funny.” In this novel she sets her bittersweet, hilarious, perceptive gaze on Eleanor, a woman who vows that for just one day she will be the ideal wife, mother, and career woman she’s always known she could be. And it goes great! Just kidding. (Janet)
No Knives in the Kitchens of This City by Khaled Khalifa: This novel, Khalifa’s fourth, illuminates the prelude to Syria’s civil war, and humanizes a conflict too often met with an international shrug. Tracking a single family’s journey from the 1960s through the present day, No Knives in the Kitchens of This City closely examines the myriad traumas — both instantaneous and slow-burning — accompanying a society’s collapse. As of this year, the U.N. Refugee Agency estimates there to be 65.3 million refugees or internally displaced persons around the world, and more than 4.9 million of those are Syrian. For those hoping to understand how this came to pass, Khalifa’s book should be required reading. (Nick M.)
Mister Monkey by Francine Prose: Widely known and respected for her best-selling fiction, Prose has had novels adapted for the stage and the screen. It’s impossible to say (but fun to imagine) that these experiences informed her latest novel, Mister Monkey, about an off-off-off-off Broadway children’s play in crisis. Told from the perspective of the actress who plays the monkey’s lawyer, the adolescent who plays the monkey himself, and a variety of others attached to the production in one way or another, this novel promises to be madcap and profound in equal measure. (Kaulie)
The German Girl by Armando Lucas Correa: This debut novel, set in the 1930s, follows a young Jewish family as it tries to flee Germany for Cuba. When they manage to get a place on the ocean liner St. Louis, the Rosenthals prepare themselves for a comfortable life in the New World, but then word comes in of a change to Cuba’s immigration policy. The passengers, who are now a liability, get their visas revoked by the government, which forces the Rosenthals to quickly abandon ship. For those of you who thought the boat’s name sounded familiar, it’s based on a real-life tragedy. (Thom)
The Explosion Chronicles by Yan Lianke: A decade ago, The Guardian described Lianke as “one of China’s greatest living authors and fiercest satirists.” His most recent novel, The Four Books, was shortlisted for this year’s Man Booker International Prize. The Explosion Chronicles was first published in 2013, and will be published in translation (by Duke professor Carlos Rojas) this fall. The novel centers on a town’s “excessive” expansion from small village to an “urban superpower,” with a focus on members of the town’s three major families. (Elizabeth)
The Trespasser by Tana French: In her five previous novels about the squabbling detectives of the Dublin Murder Squad, French has classed up the old-school police procedural with smart, lush prose and a willingness to explore the darkest recesses of her characters’ emotional lives. In The Trespasser, tough-minded detective Antoinette Conway battles scabrous office politics as she tries to close the case of a beautiful young woman murdered as she sat down to a table set for a romantic dinner. On Goodreads, the Tanamaniacs are doing backflips for French’s latest venture into murder Dublin-style. (Michael)
The Wangs vs. the World by Jade Chang: Entertainment Weekly has already expressed excitement about former journalist Chang’s novel, calling it “uproarious,” and in her blurb, Jami Attenberg deemed The Wangs vs. the World her “favorite debut of the year.” Charles Wang, patriarch and business man, has lost his money in the financial crisis and wants to return to China to reclaim family land. Before that, he takes his adult son and daughter and their stepmother on a journey across America to his eldest daughter’s upstate New York hideout. Charles Yu says the book is, “Funny, brash, honest, full of wit and heart and smarts,” and Library Journal named it one of the fall’s 5 Big Debuts. (Edan)
Martutene by Ramón Saizarbitoria: A new English translation of a work that the journal El Cultural has suggested “could well be considered the highest summit of Basque-language novels.” The novel follows the interlinked lives of a group of friends in the contemporary Basque country, and the young American sociologist who’s recently arrived in their midst. (Emily)
Him, Me, Muhammad Ali by Randa Jarrar: Jarrar, whose novel A Map of Home won a Hopwood Award in 2008, comes out with her first collection of short stories old and new. In the title story (originally published in Guernica in 2010), a woman whose father has recently died goes to Cairo to scatter his ashes. In accompanying stories, we meet an ibex-human hybrid named Zelwa, as well as an Egyptian feminist and the women of a matriarchal society. In keeping with the collection’s broad focus on “accidental transients,” most of the stories take place all over the world. (Thom)
The Terranauts by T.C. Boyle: In 1994, a group of eight scientists move into EC2, a bio-dome-like enclosure meant to serve as a prototype for a space colony. Not much time passes before things begin to go wrong, which forces the crew to ask themselves a difficult, all-important question — can they really survive without help from the outside world? Part environmental allegory, part thriller, The Terranauts reinforces Boyle’s reputation for tight plotlines, bringing his talents to bear on the existential problem of climate change. For those who are counting, this is the author’s 16th (!) novel. (Thom)
Swing Time by Zadie Smith: The Orange Prize-winning author of White Teeth and On Beauty returns with a masterful new novel. Set in North West London and West Africa, the book is about two girls who dream of being dancers, the meaning of talent, and blackness. (Bruna)
Moonglow by Michael Chabon: We’ve all had that relative who spills their secrets on their deathbed, yet most of us don’t think to write them down. Chabon was 26 years old, already author of The Mysteries of Pittsburgh, when he went to see his grandfather for the last time only to hear the dying man reveal buried family stories. Twenty-six years later and the Pulitzer Prize winner’s eighth novel is inspired by his grandfather’s revelations. A nearly 500-page epic, Moonglow explores the war, sex, and technology of mid-century America in all its glory and folly. It’s simultaneously Chabon’s most imaginative and personal work to date. (Tess)
Fish in Exile by Vi Khi Nao: A staggering tale of the death of a child, this novel is a poetic meditation on loss, the fluidity of boundaries, and feeling like a fish out of water. Viet Thanh Nguyen has described it as a “jagged and unforgettable work [that] takes on a domestic story of losing one’s children and elevates it to Greek tragedy.” (Bruna)
Virgin and Other Stories by April Ayers Lawson: Lawson’s magazine debut was in the Paris Review with the title story of the collection. Other stories like “Three Friends in a Hammock” have appeared in the Oxford American. Fans of Jamie Quatro’s I Want to Show You More will be drawn to Lawson’s lyric, expansive dramatizations of Southern evangelical Christians, as she straddles the intersection of sexuality and faith. Her sentences, so sharp, are meant to linger: “The problem with marrying a virgin, he realized now, was that you were marrying a girl who would become a woman only after the marriage.” (Nick R.)
Valiant Gentleman by Sabina Murray: PEN/Faulkner Award-winner (The Caprices) Murray returns with her latest novel Valiant Gentlemen. Murray’s first novel, Slow Burn, was published when she was just 20 years old. Currently the chair of the creative writing department at UMass Amherst, Murray has also received fellowships from the Radcliffe Institute, the National Endowment for the Arts, and the Guggenheim Foundation. Her sixth book (seventh, including her screenplay), Valiant Gentlemen follows a friendship across four decades and four continents. Alexander Chee writes, “This novel is made out of history but is every bit a modern marvel.” (Cara)
Collected Stories by E.L. Doctorow: Written between the 1960s to the early years of this century, the 15 stories in this collection were selected, revised, and placed in order by the masterly Doctorow shortly before he died in 2015 at age 84. The stories feature a mother whose plan for financial independence might include murder; a teenager who escapes home for Hollywood; a man who starts a cult using subterfuge and seduction; and the denizens of the underbelly of 1870s New York City, which grew into the novel The Waterworks. They are the geniuses, mystics, and charlatans who offer both false hope and glimpses of Doctorow’s abiding subject, that untouchable myth known as the American dream. (Bill)
Thus Bad Begins by Javier Marías: Marías, one of Spain’s contemporary greats, is nothing if not prolific. In this, his 14th novel, personal assistant Juan de Vere watches helplessly as his life becomes tangled in the affairs of his boss, a producer of B-movies and general sleaze. Set in a 1980’s Madrid in the throes of the post-Francisco Franco hedonism of La Movida, a period in which social conservatism began to crumble in the face of a wave of creativity and experiment, the novel calls to mind Christopher Isherwood’s The Berlin Stories and the paranoid decadence of Weimar Germany. Spying and the intersection of the domestic with the historical/political isn’t new territory for Marías, and fans of of his earlier work will be as pleased as Hari Kunzru at The Guardian, who called Thus Bad Begins a “demonstration of what fiction at its best can achieve.” (Brian)
Whatever Happened to Interracial Love? by Kathleen Collins: Collins is described as “a brilliant yet little known African American artist and filmmaker — a contemporary of revered writers including Toni Cade Bambara, Laurie Colwin, Ann Beattie, Amy Hempel, and Grace Paley.” The stories in this collection, which center on race in the ’60s, explore the intersections of race, gender, and sexuality in ways that “masterfully blend the quotidian and the profound.” (Elizabeth)
The Private Life of Mrs. Sharma by Ratika Kapur: Kapur’s first novel, Overwinter, was longlisted for the Man Asian Literary Prize. This, her second, chronicles a changing India in which the titular Mrs. Sharma, a traditional wife and mother living in Delhi, has a conversation with a stranger that will shift her worldview. Described as a “sharp-eyed examination of the clashing of tradition and modernity,” Asian and European critics have described it as quietly powerful. The writer Mohammed Hanif wrote that it “really gets under your skin, a devastating little book.” (Elizabeth)
The Passenger by Cormac McCarthy: Recent reports of the author’s death have been greatly exaggerated, but unfortunately reports of delays for his forthcoming science fiction book have not. Longtime fans will need to wait even longer than they’d initially suspected, as The Passenger’s release date was bumped way past August 2016 — as reported by Newsweek in 2015 — and now looks more like December 2017. (Nick M.)
Lincoln in the Bardo by George Saunders: For Saunders fans, the prospect of a full-length novel from the short-story master has been something to speculate upon, if not actually expect. Yet Lincoln in the Bardo is a full 368-page blast of Saunders — dealing in the 1862 death of Abraham Lincoln’s son, the escalating Civil War, and, of course, Buddhist philosophy. Saunders has compared the process of writing longer fiction to “building custom yurts and then somebody commissioned a mansion” — and Saunders’s first novel is unlikely to resemble any other mansion on the block. (Jacob)
And So On by Kiese Laymon: Laymon is a Mississippi-born writer who has contributed to Esquire, ESPN, the Oxford American, Guernica, and writes a column for The Guardian. His first novel, Long Division, makes a lot of those “best books you’ve never heard of” lists, so feel free to prove them wrong by reading it right now. What we know about his second novel is that he said it’s “going to shock folks hopefully. Playing with comedy, Afro-futurist shit and horror.” (Janet)
Difficult Women by Roxane Gay: If this were Twitter, I’d use the little siren emoji and the words ALERT: NEW ROXANE GAY BOOK. Her new story collection was recently announced (along with an announcement about the delay on the memoir Hunger, which was slated to be her next title and will now be published after this one). The collection’s product description offers up comparisons to Merritt Tierce, Jamie Quatro, and Miranda July, with stories of “privilege and poverty,” from sisters who were abducted together as children, to a black engineer’s alienation upon moving to Michigan’s Upper Peninsula, to a wealthy Florida subdivision “where neighbors conform, compete, and spy on each other.” (Elizabeth)
Transit by Rachel Cusk: In this second novel of the trilogy that began with Outline, a woman and her two sons move to London in search of a new reality. Taut and lucid, the book delves into the anxieties of responsibility, childhood, and fate. “There is nothing blurry or muted about Cusk’s literary vision or her prose,” enthuses Heidi Julavits. (Bruna)
Homesick for Another World by Ottessa Moshfegh: This first collection of stories from Moshfegh, author of the noir novel Eileen, centers around unsteady characters who yearn for things they cannot have. Jeffrey Eugenides offers high praise: “What distinguishes Moshfegh’s writing is that unnamable quality that makes a new writer’s voice, against all odds and the deadening surround of lyrical postures, sound unique.” You can read her stories in The New Yorker and the Paris Review. (Bruna)
Woman No. 17 by Edan Lepucki: Long-time Millions writer and contributing editor Lepucki follows up her New York Times-bestselling novel California (you may have seen her talking about it on a little show called The Colbert Report) with Woman No. 17, a complicated, disturbing, sexy look at female friendship, motherhood, and art. (Lydia)
Enigma Variations by André Aciman: New York magazine called CUNY Professor and author of Harvard Square “the most exciting new fiction writer of the 21st century). Aciman follows up with Enigma Variations, a sort of sentimental education of a young man across time and borders. (Lydia)