Our mother worried we would be seen as sluts. My friends were blessed with less direct mothers -- the ones who believed in gentle shaming, who cajoled their daughters into less revealing clothes or hummed their disapproval when they found out that boys would be at the movie their daughters were attending with friends. “Be careful," they’d say, when they really meant “don’t do anything stupid with a boy.” My sisters and I were not blessed with such a mother. At the first sign of breasts, my mother would begin her campaign about the dangers of descending into promiscuity. They were sermons about the fragility of a woman’s will and the uncontrollable libido of men. Neither women nor men could help themselves, my mother would tell us. My sisters were unbothered by these sermons, listening with pretend patience as my mother tried to make ladies out of them with a Victorian zeal she had acquired living under British colonialism in Ghana. I, on the other hand, would fight with my mother every single time. Why didn’t my brothers get lectures about guarding their virtue? And why should what I wear matter? “Because boys are different,” she would say, “and men will get the wrong idea if you wear something provocative.” Once, the words my mother and I said to each other were like the blunted edge of a knife: sharp enough to cut, but too dull to leave a lasting wound. But when I sprouted breasts, and my mother worried about all these changes entailed, and I chafed at her attempts to make me into a "proper" woman, our relationship, once bound by love, turned into a battle in which we both needed armor. I retreated further into books. I’m not sure how I discovered At the Bottom of the River (1983), Jamaica Kincaid’s collection of short stories, but I do remember that the moment I read “Girl,” it echoed throughout my body. Ah, so it’s not just my mother with a mouth full of fire, I thought to myself. It felt like Kincaid had found a crevice in our home, entered unnoticed, and written down everything she heard (never mind that “Girl” was published before I was born). “On Sundays try to walk like a lady and not like the slut you are so bent on becoming,” the unnamed mother tells her also unnamed daughter. “Walk like a lady,” was a favorite phrase of my mother’s when we were growing up. Likewise the mother instructs her “how to behave in the presence of men who don’t know you very well” so they “won’t recognize immediately the slut I have warned you against becoming.” This was so close to my mother’s accusation that I was too “friendly” with boys that I felt Kincaid was speaking directly to me. No story or book, no matter how much I had loved it, had ever done that before. So often, when my mother and I would fight -- when I hadn’t lived up to her expectations of how a girl should behave -- I would take out At the Bottom of a River and reread the story of my life. The girl’s story was not my story because we had a lot in common. After all, she’s poor and lives in the Caribbean, while I grew up in a well-heeled town in America. I also didn't have to learn how to grow my own food, fish, or make my clothes to survive. But what we both had in common was a mother who feared her daughter would descend into promiscuity, not unwillingly. “This is how to hem a dress when you see the hem coming down and so to prevent yourself from looking like the slut I know you are so bent on becoming” the mother in “Girl” tells her daughter. When I read this as a teenager, I imagined the mother saying this to her daughter had the face of my mother and I was the daughter protesting what her mother thought of her; that mother didn’t know her daughter any more than my mother knew me. “But I don’t sing benna [an Antiguan folk song] on Sundays at all and never in Sunday school” the girl says when her mother tells her not to sing benna in Sunday school. But the mother continues, unwilling to hear her daughter’s protests. My mother would also ignore me when I would insist to her that I wasn’t trying to give boys the wrong impression when I spoke to them. At some point my mother must have decided she didn’t like fighting with me about how I behaved, or perhaps she thought I was a lost cause, since my tongue had been made even sharper by the feminist writers I had recently discovered, and she stopped her sermons. And since I no longer needed “Girl,” I stopped reading what I had once declared was the story of my life. Years later, in one of my periodic fits of cleaning, I found a bruised and battered copy of At the Bottom of the River at the bottom of a box. I opened the book to “Girl,” but I hesitated before reading it. To love something when you’re young is to love it with reverence. I was afraid if I reread “Girl,” I would find myself a disillusioned devotee. Despite these misgivings, I sat down on a pile of clothes and read “Girl” for the first time in probably 15 years. After I finished, I was sorry that I had waited so long. Rereading the story, I was struck by Kincaid’s ability to say so much with a mere 681 words, how she created a world with as much detail and depth as short stories far longer than “Girl.” The story manages to convey to readers some of the food eaten in Antigua (pumpkin fritters, tea, salt fish, okra, doukona, bread pudding, dasheen, and pepper pot), the family’s socioeconomic standing and cultural beliefs (“don’t throw stones at blackbirds, because it might not be a blackbird at all”), the connection between respectability and domestic knowledge, and the tense relationship between a mother and her daughter. It is a sweeping list, yet it still doesn’t cover everything Kincaid addresses in the story. In my rereading of “Girl,” I also realized that I never noticed how transgressive the story is. The mother’s liturgy about behaving well so people won’t think you are a slut is partly about pretense; about maintaining a public facade in a culture that demands prudishness from its women. “This,” the mother tells her daughter casually, “is how to make a good medicine to throw away a child before it even becomes a child” before she immediately moves on to how to “catch a fish.” Derek Walcott once said of Kincaid: “As she writes a sentence, psychologically, its temperature is that it heads toward its own contradiction. It's as if the sentence is discovering itself, discovering how it feels.” “Girl,” one long sentence interrupted by commas and semicolons, heads toward its own contradiction from its very first word. The story begins with the mother telling her daughter how to behave so as to not be considered a slut, then veers to the mother teaching her daughter what to do if her sexual transgressions catch up with her. The story then ends with the mother’s dismay that her daughter will become a loose woman even after all the instructions she’s been given. “You mean to say that after all you are really going to be the kind of woman who the baker won’t let near the bread?” I was young when I first read “Girl,” so I’ll partially absolve myself for reading the story as if I were reading my own diary instead of seeing it as a complex, arresting story that should be read for its own sake. But I also think that it’s just how many (most?) of us are taught how to read and appreciate books. When my father gave me a copy of Pride and Prejudice he told me, “You’ll like this story; the main character is feisty just like you.” We always look for connections to our own lives. F. Scott Fitzgerald wrote that part of the beauty of literature was that “You discover that your longings are universal longings, that you’re not lonely and isolated from anyone. You belong.” I believed this once. Passionately. But reading in hopes of finding yourself reflected back now feels like a barren endeavor. It is mistaking solipsism for intimacy. A gaze that looks only for itself will never see anything else but its own reflection. If literature serves any purpose, it's to take us outside of ourselves. But the young girl I was remains grateful to Jamaica Kincaid for those blissful moments when it felt like I wasn’t alone.
Michel De Montaigne owned 900 books, which he kept on shelves arranged in a semi-circle. Immanuel Kant owned about 400 books. Virginia Woolf: 4,000. Qin Shi Huang, the Chinese emperor who built the Great Wall, ordered the destruction of all books written before his reign. According to the Han-era historian Sima Qian, the Qin burned only those works held in private libraries, while the court erudites and government archives were permitted to retain and expand their collections. During the Qin era, anyone caught discussing The Classic of Poetry in public would be executed. Under Qin Shi Huang it was a capital offence to discuss the past as being preferable to the present. Many of those books spared by the emperor were destroyed when the warlord Xiang Yu entered the city of Xiangyang, four years after Qin Shi Huang’s death, and razed the Qin palace and its library to the ground. John Dee, mathematician, astrologer, and adviser to Elizabeth I, kept a collection of 2,337 books and 378 manuscripts in his house on Mortlake-on-Thames. When he died, in 1608, the land around his home was bought by the antiquarian Robert Cotton, who suspected -- correctly -- that Dee had buried a cache of valuable manuscripts in a nearby field. Gustave Flaubert possessed more books by George Sand than any other author. Emily Dickinson owned a copy of Elizabeth Cleghorn Gaskell’s The Life of Charlotte Brontë. F. Scott Fitzgerald owned the 1926 edition of The Paris That’s Not in the Guidebooks by Basil Woon. James Joyce owned the guidebook In and About Paris by Sisley Huddleston. Joseph Roth, it appears, possessed very few books. Franz Kafka owned all of Max Brod’s books. In a diary entry from 1911, Kafka writes: “November 11. All afternoon at Max’s. Decided on the sequence of the essays for (Brod’s latest collection) On the Beauty of Ugly Pictures. Not good feeling.” Every few years, Willa Cather re-read her favourite novels. By 1945 she had read Huckleberry Finn 20 times, and Flaubert’s Salammbo 13 times. Socrates said the written word represented “no true wisdom.” He preferred a dialogue. He claimed written words “seem to talk to you as though they were intelligent, but if you ask them anything about what they say, from a desire to be instructed, they go on telling you the same thing for ever.” In her copy of Emmanuel Mounier’s The Character of Man, Flannery O’Connor underlined the following sentences: “When we say that thought is dialogue, we mean this quite strictly. We never think alone. The unspoken thought is a dialogue with someone who questions, contradicts, or spurs one on.” In chapter seven of Eugene Onegin, the heroine Tatiana visits the country estate of Onegin, where she is let in by the housekeeper. The chapter is framed as a digression by the narrator: Tatiana does not meet Onegin at the villa, instead she encounters his collection of books, and reads his marginalia, and the scrapbook into which he copied his favorite passages. For the first time, Tatiana encounters what she considers to be the real Onegin -- in the marginal notations his mind “declares itself in ways unwitting.” Then what is the true Onegin like? Tatiana begins to see him as a composite of fictional characters from his favorite books. On a page of Charles Darwin’s The Voyage of the HMS Beagle Round the World, Mark Twain wrote: "Can any plausible excuse be furnished for the crime of creating the human race?” In the margins of Howards End, Penelope Fitzgerald complains of the author: “He is lecturing us”. Fitzgerald’s biographer, Hermione Lee, finds this observation about Lady Russell in a copy of Persuasion: “A right-feeling but wrong-judging parent, who does as much harm as an unfeeling one.” About Fanny’s mother in Mansfield Park, Fitzgerald writes: “We see relentlessly what a difference some money makes.” About Elizabeth in Pride and Prejudice: "She punishes herself too much.” In a copy of Waiting for Godot: “An attempt to show how man bears his own company.” In her copy of The Good Soldier, Fitzgerald writes: “A short enough book to contain 2 suicides, 2 ruined lives, a death, a girl driven insane -- it may seem odd to find that the key note of the book is restraint.” Among Djuna Barnes’s personal library, now kept at the University of Maryland, is the 1963 edition of Writers at Work: The Paris Review Interviews. As a young writer, on commission for magazines, Barnes interviewed other novelists, including James Joyce. She herself was never interviewed by The Paris Review. Jeff Buckley owned the book Addiction Recovery for Beginners by David Brizer. Tupac Shakur owned In Search of Our Mother’s Gardens: Womanist Prose by Alice Walker. Katherine Anne Porter’s library comprised 4,000 books -- rounded up by librarians -- now preserved at the University of Maryland. Doris Lessing donated her collection of 3,000 titles to Harare City Library, Zimbabwe. Five years after her death, Iris Murdoch’s books were sold to the Kingston University Library, London, for the sum of £120,000. Her husband John Bayley said: "Her mind seemed to work independently of her precious library, but at the same time she depended for inspiration on the presence of her books, a silent living presence whose company sustained and reassured her." Late in his career, David Markson wrote novels that he constructed, for the most part, out of hundreds of anecdotes and factoids about writers and other artists. Nested amid these catalogues of biographical facts are brief statements by an unnamed narrator, which relate his or her circumstances or distressed frame of mind. All these components are united by two themes: the life of an artist and death. At a reading of his final novel, titled The Last Novel, Markson introduced the work by stating that his book featured no dramatic scenes, no incidents, no chapters, but was “98.5 per cent -- and that’s not really a guess” composed of anecdotes and quotes sourced from other books. Markson’s novels are enormous collages full of fragments from his private library. After his death in 2010, his collection was donated to The Strand in New York, where, presumably, he bought most of the books that contained the anecdotes and quotes and facts that comprised his novels. As if completing a perfect ritual, Markson’s library was sorted and integrated into the Strand’s floor stock, and sold and dispersed again. Image Credit: Flickr/Michael D Beckwith.
In his often anthologized essay “On Reading Old Books,” William Hazlitt wrote, “I hate to read new books. There are twenty or thirty volumes that I have read over and over again, and these are the only ones that I have any desire to ever read at all.” This is a rather extreme position on rereading, but he is not alone. Larry McMurtry made a similar point: “If I once read for adventure, I now read for security. How nice to be able to return to what won’t change. When I sit down at dinner with a given book, I want to know what I’m going to find.” In her recent study On Rereading Patricia Meyers Spacks uses McMurtry as an example of someone who rereads to stubbornly avoid novelty, and unapologetically so. His refusal, like Hazlitt’s, to read anything new makes rereading a conservative if comfortable experience, vehemently opposed to the possible shock of the new. Spacks herself feels slightly differently. She writes, “No reader can fail to agree that the number of books she needs to read far exceeds her capacities, but when the passion for rereading kicks in, the faint guilt that therefore attends the indulgence only serves to intensify its sweetness.” In Spacks’s scenario rereading is a forbidden pleasure, tantalizing and, contra Hazlitt and McMurtry, with an element of time wasted -- an extravagance. The choice Hazlitt and McMurtry easily make weighs more heavily on Spacks, who knows she forgoes a new book every time she picks up an old one. Yet there are far more positive spins put on rereading in Spacks’s book and elsewhere. Pleasure, after all, needn’t be a negative. Elsewhere in his essay, Hazlitt brings up a point which is raised often by rereaders: “In reading a book which is an old favorite with me (say the first novel I ever read) I not only have the pleasure of imagination and of a critical relish of the work, but the pleasures of memory added to it. It recalls the same feelings and associations which I had in first reading it, and which I can never have again in any other way. Standard productions of this kind are links on the chains of personal identity. They are landmarks and guides in our journey through life.” This double perspective is often mentioned as one of the pleasures of rereading, especially of reading books from childhood. Hazlitt writes rhapsodically of opening Tom Jones and feeling like a child again, and Spacks, too, makes a tour of her childhood reading to see what holds up to adult scrutiny. She finds Alice's Adventures in Wonderland still enchants, but the Narnia series feels flat and lifeless. Ferdinand the Bull delights, as does The Wonderful Wizard of Oz, and the adventure of Robert Louis Stevenson’s Kidnapped enthralls her. Thus rereading is a way back into the past, to a time when one was more innocent or more susceptible to the powers of imagination or just younger, and different. It inspires introspection and self-reflection through the workings of memory: How am I the same person as the last time I read this book? How am I different? Rereading is also a form of pedagogy. To know a book you have to reread it, as Harold Bloom writes in his How to Read and Why (though he is apt to plea, as he does here, for careful reading rather than repetition; it is taken for granted that only through multiple readings will knowledge will seep in). “We read deeply for varied reasons, most of them familiar: that we cannot know enough people profoundly enough; that we need to know ourselves better; that we require knowledge, not just of self and others, but of the way things are. Yet the strongest, most authentic motive for deep reading is the search for a difficult pleasure.” Though rereading we get to know a book beyond its surface elements, we read more deeply and are rewarded not with an easy experience but with a richer one. We learn to take a book apart, pick out crucial scenes, ponder characters’ motives, see its flaws, tease out its themes. In part, through rereading we become skilled critics. Spacks too explores the professional aspect of her rereading: as a teacher and literary critic, she has read certain books over and over as part of her job and been surprised when they surprise her, or when students find aspects of a book she has passed over in her multiple readings. Even the pros sometimes miss a detail in Moby-Dick, or the book Bloom confesses to reading twice a year, Charles Dickens’s The Pickwick Papers. To really love a book we must spend time with it, and that means rereading -- for love, too, falls under the heading of Bloom’s “difficult pleasure.” Anne Fadiman’s collection of essays culled from the “Rereadings” column she edited in The American Scholar explores the strong feelings that arise between rereader and book. In her introduction to the collection, Fadiman claims that “each [column] was a miniature memoir at whose heart lay that most galvanic of topics, the evolving nature of love.” Some of the most memorable essays in Rereadings involve letting go of love, or becoming disillusioned by rereading. For example, Luc Sante’s essay on Enid Starkie’s biography of Arthur Rimbaud describes a vehement case of hero-worship in which the idolatrous fever eventually breaks. You see, Sante confides, “At some point before adolescence, I had decided to be a child prodigy,” and he chose writing as his field. At 13 he encountered Rimbaud in a poetry anthology, and soon after he found the aforementioned biography “with a picture of a big-haired, pensive, beautiful adolescent” on the cover. He read it everywhere he went, and realized he had chosen a remarkable idol: “He was hipper than anyone alive.” Sante was smitten. Yet there were attendant issues with such a role model: “He wasn’t even divisible into parts, you couldn’t be half a Rimbaud. The alternative to being Rimbaud was to be nothing.” Inevitably, Sante grew out of his passion. “I can reread the Starkie biography today…and no longer feel as though I will have to set the book down at some point and go put on music or think about something else, because the race is over now.” Rimbaud has won; he won by never having a Rimbaud to worship. But then, he also never had the adulthood Sante has, or the knowledge that has come with it. Rimbaud lost too by never growing up, by his truncated biography, by always coming to a tragic early end. Vivian Gornick’s essay in Fadiman’s collection also deals with lost love. “When I was in my twenties, my friends and I read Colette as others read the Bible.” Colette is the only writer who can describe their condition, the way they had to live. “The condition, of course, was that we were women, and that Love (as we had long known) was the territory upon which our battle with Life was to be pitched.” Like Sante worshipping Rimbaud, Gornick and her friends’ fixation on Colette had its problems. They were intellectual girls (young women, really), readers, of course, who lived out their fantasies in books. Gornick writes of their identification with the great literary heroines, Henry James’s Isabel Archer and George Eliot’s Dorothea Brooke, “passionate young women destined for tragedy at the hands of famously unworthy men.” Yet they were also new women, championing Mary McCarthy and relishing their sexual independence. Colette combined these two forces, or so it seemed. “She seemed to know everything that actually went on inside a woman ‘in the grip.’ Her wisdom riveted your eyes to the page, gathered up your scattered, racing inattention. It made A Woman in Love as serious a concern for the novelist as God or War.” Gornick’s descriptions of communing with Colette’s books, particularly The Vagabond and The Shackle, are hungry and spiritual. How would they stand up to rereading? Not well, is the short answer. After 30 years they seem melodramatic, contrived, alienating. Though she says Colette’s “writing is incomparable,” Gornick exclaims of the lovers, “But what appalling strangers these people are to one another! Not a speck of reality between them. How preoccupied [Colette] is with aging. Why hadn’t I noticed that before? And the aimlessness of them all, women and men alike -- especially in The Shackle. No one has anything to do but lie around brooding about love.” Note that love has lost its capital letter for Gornick. These novels about passion felt dispassionate. Where in her 20s Gornick had believed love was the territory she would stake her claim on, life has intervened and shown her their lives are much larger. Gornick is struck by how much smaller Colette’s world seems, and though the comparison is with her first reading, it is also with her own world. Gornick’s final thought is a melancholy one: “I want the reading of Colette to be the same as it once was, but it is not. Yet I am wrenched by the beauty of that which no longer feels large, and can never feel large again.” Rereading has taken something away from Gornick that she valued, an illusion about love, and life, that cannot be retrieved. Rereading does not have to lead to loss, however. Plenty of people reread because they find it soothing, fortifying even. And a disproportionate number of those rereaders seem to pick up a novel by Jane Austen. When Patricia Spacks started researching rereading as a topic, it was Jane Austen who was most often the answer to the question of who people reread (especially women, it seems, men, according to nothing more than anecdotal evidence, keep a volume of Tolkien nearby). She asked a young woman in China why Austen was her favorite author, and then a group of Holocaust survivors who met to read Austen aloud to one another. From their answers, Spacks concluded that Austen meant civilization. “We may plausibly surmise that a considerable proportion of Austen’s many rereaders, from adoring members of the Jane Austen Society to casual pleasure-seekers, find comfort in civilized discourse: carefully formed plots that end predictably in satisfactory marriages, style that reflects the author’s dominion over her material, characters rewarded and punished according to their deserts.” The fact that her world is one that values words -- think of the verbal sparring between Elizabeth Bennet and Mr. Darcy in Pride and Prejudice -- also gives the rereader an extra jolt. Spacks writes, “It’s not just that Austen teaches us about life -- life teaches us about Austen.” Allegra Goodman’s essay in Anne Fadiman’s collection, “Pemberly Previsited,” traces the motions of one Austen rereader, from a girl too young to understand much of Austen’s subtlety to a young mother whose own mother has just died and is looking for solace in Austen’s world. It is her third reading of Pride and Prejudice, a tribute to her mother who loved Austen, that really makes the novel click into place for her. “What I found irresistible this time was the way Austen combines astute social satire with fairy tale. The combination didn’t seem awkward to me, but inspired. The satire is exquisite, while the fairy tale is viscerally satisfying.” While after her second reading Goodman had found the book lacking compared with more complex or darker classic novels, this time it seems just right. As Goodman wryly notes, “A dark imagination is, perhaps, more appealing before you know anything about darkness.” In a time of darkness, Austen has provided a fairy tale, but one with enough grounding in reality to viscerally satisfy her. It is hard to ask more of a book. Goodman keeps rereading Pride, finding more and more to admire in it, and coming to this conclusion about the process: “I think unfolding is what rereading is about. Like pleated fabric, the text reveals different parts of its pattern at different times. And yet every time the text unfolds, in the library, or in bed, or upon the grass, the reader adds new wrinkles. Memory and experience press themselves into each reading so that each encounter informs the next.” This image echoes one Spacks uses, that of the palimpsest (an ancient scroll where a text is scraped off and another written over it), where each reading is layered upon the last. “Although one never altogether recovers previous layers,” Spacks writes, “they add texture and meaning to the ultimate version.” As long as we keep rereading, however, we never have the ultimate version of a book. Whether we go back again and again to a classic (and the ability to hold up to rereading is how a book becomes a classic) or pick up an old favorite to see how it has fared or dig deep into the treasures of our youth, rereading is an experiment that is bound to change us, and to change our impressions of the books we read. Rereading can certainly surprise, it can instruct, and it can make us feel safe. Maybe it is not indulgent to reread a book, but a way to learn; and what is any sort of reading but a way to learn, whether it is something new about the world or just something new about ourselves? Image:Cote/Flickr
Let's say you're slightly to the left of the Bell Curve: you read, on average, a book a week. And let's say you're also slightly leftward-listing in your survival prospects: that, due to the marvels of future medicine (and no thanks to the blunders of contemporary foreign policy) you'll live to the fine old age of 90. Let's furthermore presuppose that you're one of those people, the precocious ones who were reading Kesey and King and Kingsolver and Kipling at 15. How many great books will you get to read in a lifetime? Assuming you've already answered the adjunct question (why?) for yourself, the prospect of having to choose only three thousand books from among the many Millions may sound daunting. My Merriam-Webster Encyclopedia of World Literature contains some entries on authors alone, and is hardly comprehensive. Balzac alone could eat up almost one percent of your lifetime reading. On the other hand, as usual, limitation shades into wonder... because in an infinite reading universe, we would be deprived of one of the supreme literary pleasures: discovery. Half of my favorite works of fiction of the year were by authors (women, natch) I'd never read, had barely heard of: Kathryn Davis' The Thin Place, Lynne Tillman's American Genius: A Comedy, and Mary Gaitskill's Veronica.And if I had gone my whole life without discovering Deborah Eisenberg, I would have missed something like a literary soulmate. The beguiling, bewildered quality of Eisenberg's Twilight of the Superheroes - the sentences whose endings seem to surprise even their writer - is so close to the texture of life as I experience it as to be almost hallucinatory. On the other hand, Eisenberg's world is much, much funnier and more profound than mine. She's single-handedly rejuvenated my relationship with the short story... and just in time for the remarkable new Edward P. Jones collection, All Aunt Hagar's Children. I've already expressed my suspicion that Jones has been a positive influence on Dave Eggers, as evidenced by What is the What. So I'll just round out my survey of new fiction by mentioning Marshall N. Klimasewiski's overlooked first novel, The Cottagers - a dazzlingly written thriller.In between forays into the contemporary landscape, I've been trying to bone up on the classics. I'm ashamed to say I hadn't read Pride and Prejudice until this year; it's about the most romantic damn thing I've ever encountered, and I'm a sucker for romance. Pricklier and more ironic, which is to say more Teutonic, was Mann's The Magic Mountain - a great book for when you've got nothing to do for two months. Saul Bellow's Herzog completely blew my doors off, suggesting that stream-of-consciousness (and the perfect evocation of a summer day) did not end with Mrs. Dalloway. Herzog is such a wonderful book, so sad, so funny, so New York. So real. I can't say the same thing about Kafka's The Castle, but it is to my mind the most appealing of his novels. As in The Magic Mountain, futility comes to seem almost charming. E.L. Doctorow's Billy Bathgate was another wonderful discovery - a rip-roaring read that's written under some kind of divine inspiration: Let there be Comma Splices! Similarly, I was surprised by how well page-turning pacing and peel-slowly sentences worked in Franzen's first novel, The Twenty-Seventh City. Ultimately, it's sort of a ridiculous story, but it's hard to begrudge something this rich and addictive. Think of it as a dessert. I'd be remiss if I didn't mention the rip-roar of that most sweeping of summer beach books, Lonesome Dove. And if the last three titles make you feel self-indulgent, because you're having too much fun, cleanse the palate the way I did, with the grim and depressing and still somehow beautiful. Namely, Samuel Beckett's Texts for Nothing or W.G. Sebald's Rings of Saturn. (What is it with those Germans?)Nonfiction-wise, I managed to slip away from journalism a bit, but did read James Agee's Let Us Now Praise Famous Men while I was in Honduras... sort of like reading Melville at sea. I made it most of the way through Martin Heidegger's Being and Time (God knows why, half of me adds. The other half insists, You know why.) Adorno and Horkheimer's Dialectic of the Enlightenment lightened things up... Not! But I will never read Cosmo Girl the same way again. Come to think of it, pretty much all the nonfiction I loved this year was a downer, about the impure things we can't get away from: Susan Sontag's On Photography, Greil Marcus' Lipstick Traces, David Harvey's The Condition of Postmodernity, and especially the late George W.S. Trow's astonishing, devastating Within the Context of No Context. Lit-crit offered a little bit of a silver lining, as William H. Gass' A Temple of Text and James Wood's The Irresponsible Self. Wood's essays on Tolstoy and Bellow remind me that "the world is charged with the grandeur of God"... which is, I guess, why I'll keep reading in 2007.