Pushkin Hills

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Sergei Dovlatov: Gravity, Levity, and Love

This post was produced in partnership with Bloom, a literary site that features authors whose first books were published when they were 40 or older.

1.
In response to being dubbed “troubadour of honed banality,” Sergei Dovlatov wrote, in 1982, to his friend and publisher Igor Yefimov: “I am not offended.  For truisms are in unusually short supply these days.”  Of his childhood, he claimed, “I didn’t collect stamps, didn’t operate on earthworms and didn’t build model airplanes.  What’s more, I didn’t even particularly like to read.  I liked going to the movies and loafing.”  On the relationship between body and soul, he wrote: “It seems to me that it is precisely the physically healthy who are most often spiritually blind…I myself was a very healthy person, and don’t I know about spiritual weakness!”

It is typical of Dovlatov to riff on his all-around underachievement. In a chapter in his novel The Suitcase called “The Finnish Crêpe Socks,” about his student years in Leningrad, he wrote, “The university campus was in the old part of town.  The combination of water and stone creates a special, majestic atmosphere there.  It’s hard to be a slacker under those circumstances, but I managed.”  In relation to Soviet bureaucracy, he affected a remedial disconnect from reality: “No point in arguing.  But of course I argued.’’  Time and again throughout his nonfictional fiction, Dovlatov’s stand-ins deprecate the writer’s path: “As for me, it’s never been clear, exactly, just what my occupation is”; “I gave [my books] out to my friends, along with my so-called archives”; “Generally speaking one should avoid the artistic professions.” And in the family-life realm, he describes his relationship with his wife thus: “We were both chronic failures, both at odds with reality” and “We didn’t raise our daughter, we merely loved her.”

This last comment is perhaps most revealing of Dovlatov’s modus operandi: the “merely” is both superciliously ironic and earnestly regretful. A few years ago, when I first starting reading and writing about Dovlatov, I focused on the wickedly humorous side of Dovlatov’s deadpan — “a Russian David Sedaris,” as David Bezmozgis put it.  But a few years later, and a few more books into his body of work, I find myself more interested in that earnestness and regret — in Dovlatov the evolving man and artist, who crafted and, yes, honed a version of himself in his fiction that was just distorted enough to be true.  And truth — moral, spiritual, artistic — was in the end for Dovlatov no laughing matter. As easily as he mocked the writer’s profession, for example, writing for him was both a matter of compulsion and survival, born — as we learn in The Zone, his autobiographical novel about working as a prison guard in a Soviet camp — out of near-despair:
Awful things happened around me.  People reverted to an animal state. We lost our human aspect — being hungry, humiliated, tortured by fear.

My physical constitution became weak.  But my consciousness remained undisturbed.  This was evidently a defence mechanism.  Otherwise I would have died of fright.

When a camp thief was strangled before my eyes outside of Ropcha, my consciousness did not fail to record every detail…

If I faced a cruel ordeal, my consciousness quietly rejoiced.  New material would now be at its disposal…

In fact, I was already writing.  My writing became a complement to life.  A complement without which life would have been completely obscene.
2.
With the release this month of the first English translation of Dovlatov’s 1983 novel Pushkin Hills, it seems especially important to have read The Zone — to retain a sense of Dovlatov’s more direct tone, uninflected by irony or absurdism, in one’s “consciousness,” to use his own word.  “Like everything Dovlatov wrote,” James Wood writes in the Afterword to the new translation, “Pushkin Hills is funny on every page.”  This is certainly true of Pushkin Hills, but The Zone, I would argue, is an exception.  The absurdity of life in a Soviet prison camp is reported via Dovlatov’s signature sharp eye and ear but is markedly absent the levity.  Constructed as a metafiction in which Dovlatov the author, now an émigré in New York City, delivers the novel to the publisher Igor Yefimov piecemeal, as a result of censorship (“a few courageous French women…were able to smuggle my work through customs borders”) — The Zone alternates between camp narratives and personal letters to Igor; and in it, we find a level of existential seriousness unmatched in his other work.  In a letter to Igor about halfway through the book, he declares:
I am sure now that evil and good are arbitrary.  The same people can display an equal ability for virtue or villainy…

For this reason, any categorical moral position seems ridiculous to me…

Man is to man — how shall I put it best? — a tabula rasa To put it another way — anything you please, depending on the conjunction of circumstances.

For this reason, may God give us steadfastness and courage and, even better — circumstances of time and place that are disposed to the good.
In the most chilling, and in my opinion most personally revealing of the narratives in The Zone, or any of his work for that matter, Dovlatov (the character is called “Bob” by the other guards) encounters a prisoner named Kuptsov, a tough-guy drifter. Dovlatov is both enraged by and drawn to Kuptsov:
“You’re going to work, or you’ll perish in the isolator.  You’re going to work, I give you my word.  Otherwise, you’ll croak.”

The zek looked at me as though I were a thing, a foreign car parked across from the Hermitage.  He followed the line from the radiator to the exhaust pipe.  Then he said distinctly, “I like to please myself.” And that instant: a mirage of a ship’s bridge above the waves.
Then later:
“You’re one man against everyone.  Which means you’re wrong.”

Kuptsov said slowly, distinctly and severely: “One is always right.”

And suddenly I understood that this zek who wanted to kill me made me glad, that I was constantly thinking of him, that I couldn’t live without Kuptsov…that he was dear and necessary to me, that he was dearer to me than the camaraderies of the soldiers which had swallowed the last pitiful crumbs of my idealism, that we were one.  Because the only person you could hate that much was yourself.

And I also felt how tired he was.
The story ends with Dovlatov encountering an emaciated Kuptsov yet again, squatting by a campfire, not working.  By then, Kuptsov has been in extended solitary confinement.  Dovlatov browbeats him again about working, then forces him to hold an axe and swing at a tree trunk.  Instead:
Kuptsov stepped to the side.  Then he slowly got down on his knees beside a tree stump, set his left hand on the rough, gleaming yellow cut wood, then raised the axe and let it fall in one swift blow.
The story ends with a prisoner shouting at Dovlatov: “What are you standing there for, you dickwad?  You win — call the medic!”  Dovlatov is stunned by his own capacity for sadism as well as Kuptsov’s purity of conviction, “one man against everyone.” Who is prisoner, who is guard?  Who is protector, who is criminal?  In a letter to Igor, he writes, “Anyhow, I don’t write about prison and zeks.  What I wanted to write about was life and people.” Ridiculous things do happen in prison camp, but in The Zone, Dovlatov is more interested in the poignancy of that absurdity than the humor.

3.
All this is crucial background to Dovlatov’s more humorous work.  In the story “The Driving Gloves,” Dovlatov is recruited by a second-rate Swedish journalist to perform the role of Tsar Peter the Great in a satirical underground film.  At the film studio, the props guy turns out to be someone who remembers Dovlatov from the camps.
“Remember the isolation cell in Ropcha?”

“Yeah.”

“Remember the convict who strung himself up on his belt?”

“Vaguely.”

“That was me.  They pumped me for two hours, the bastards. “
The former prisoner furnishes Dovlatov with a kitschy Tsar outfit, and then as they part ways, he says, “When I was inside, I wanted out.  But now, if I have a few drinks, I start missing the camp. What people!  Lefty, One-Eye, Diesel!” Out of context, it’s a quirky one-liner delivered by a ridiculous minor character, but as readers of The Zone, we feel the chilly implications:  what is freedom, anyway?  The film intends to take up the same question, its climax showing Peter the Great melodramatically dismayed by modern Leningrad: “What have I done?…Why did I ever build this whorish city?”  And Dovlatov himself is contending with his own post-prison imprisonment: his agreeing to the role in the first place has to do with his aimless ways, his alcoholism, and his wife’s perpetual disapproval.

Dovlatov’s darker experiences and depths also help us to understand his “bloomer” journey. If his comfortable childhood made him a loafer, and his years as a prison guard woke him up to his writer’s call, then the years following unfolded as a period of delays and false starts as he struggled to make good on that calling.  These were years characterized by heavy drinking and lack of money, piles of unpublished writing, and eventually “intense harassment” by Soviet authorities.  Finally, at age 40, reunited in Queens, N.Y., with his wife and daughter who had emigrated without him, The Compromise was published in the U.S., by a small Russian émigré press. In the mid-1980s, The New Yorker ran several of his stories in English, and English translations of his books began appearing, including A Foreign WomanOurs: A Russian Family Album, and The Suitcase.  None of his work was published in Russia until after his death in 1990 (after the fall of the Soviet Union).

4.
But I don’t mean to be a killjoy.  The “sparkling” humor that Wood references, “jokes, repartee, and this writer’s special savage levity,” are what excited me about Dovlatov’s work in the first place. Indeed, hilarity — in the form of both drunken and sober dialogue, along with deadpan one-liners — splashes every scene in Pushkin Hills.  I only want to alert readers to the additional dimensions of Dovlatov’s oeuvre, numerous and equally rewarding.  There are, for example, his powers of physical description — most often in the form of short, clipped sentences, wry and sharp. But then every so often we get a feast of Dovlatovian observation:
He had taken a seat in the way police officers, provocateurs and midnight guests do, with his side to the table.

The lad looked strong.

A brick-brown face towered over a wall of shoulders.  Its dome was crowned with a brittle and dusty patch of last year’s grass.  The stucco arches of his ears were swallowed up by the semi-darkness.  The bastion of his wide solid forehead was missing embrasures.  The gaping lips gloomed like a ravine.  The flickering small swamps of his eyes, veiled by an icy cloud, questioned.  The bottomless, cavernous mouth nurtured a threat.

The cousin got up and extended his left hand like a battleship.
There is also his fine attention to the natural world — the ways in which nature both enacts and reflects human fate, simply, directly — which I noticed especially in Pushkin Hills:
Morning.  Milk with a bluish skin.  Dogs barking, buckets jangling…
and
Jackdaws flew through the clear skies. Fog spread over the marsh, at the foot of the mountain.  Sheep reposed in grey clumps on the green grass…Yellow sand stuck to my boots, wet from the morning dew.  The air from the grove carried chill and smoke.
Last but not least: the more you read Dovlatov, the more you appreciate his particular romanticism — most frequently expressed in his obsession with his wife, Lena (pronounced “Yenna”).  In Pushkin Hills, the Dovlatov persona, Boris Alikhanov, has become confused about both his family life and his writer’s vocation. He drinks too much and his debts have piled up, so he escapes to the Pushkin Hills Preserve, where he works as a tour guide, paying (humorously false) homage to the great poet Alexander Pushkin for the benefit of pilgrimaging tourists.  The place is a sort of island of misfits, replete with memorably eccentric characters (including a depressive tour guide whose storytelling is so robust that “tourists fainted from the strain”), and Boris begins to settle in nicely. But just as he begins to return to his writing, own up to his creditors, and detox from vodka, his wife (technically former wife, but it matters little), named Tatyana in this version of events, shows up.

By “this version of events,” I refer to Dovlatov’s notable revisiting and revising, through his metafictions, of the story of how he met his wife; how they came to be married; and the ways in which her almost supernaturally unflappable temperament, and their life together, perplex him utterly.  Pushkin Hills offers yet another version of their relationship — two others appear in “The Colonel Says I Love You” (from Ours) and “A Poplin Shirt” (from The Suitcase) — in which they meet at an artist’s party.  Here’s how Boris tells it:
Tatyana rose over my life like the dawn’s morning light.  That is, calmly, beautifully, without encouraging excessive emotions.  Excessive was only her indifference.  Her limitless indifference was comparable to a natural phenomenon.
They leave the party together, she invites him up to her apartment, they talk, she serves wine.
There was a pause, which in a situation like this could be fatal…

As strange as it may seem, I was feeling something like love.

Where did it come from?  From what pile of garbage?  From what depths of this wretched, miserable life?  In what empty, barren soil do these exotic flowers bloom?  Under the rays of which sun?

Some art studios full of junk, vulgarly dressed young ladies… Guitar, vodka, pathetic dissidence…And suddenly — dear God! — love.
Tatyana suggests they “just talk.”  Boris says, “In theory, it’s possible.  In practice — not really.”  And then, we get:
Then it was cramped, and there were words that were painful to think about in the morning…And that’s how it all began. And lasted ten years.
In “A Poplin Shirt,” Lena appears on his doorstep as an election canvasser.  He invites her in for tea, then they go to the movies (neither feels like voting), and then off to meet some writers and eat dinner.
Elena Borisovna astonished me by her docility.  Or not docility, exactly — more a kind of indifference to the realities of life…Deciding that Mother was asleep by now, I turned home.  I didn’t even say, “Come with me,” to Elena Borisovna.  I didn’t even take her by the hand.  We simply found ourselves at home.  That was twenty years ago.
And finally, in “The Colonel Says I Love You,” Lena appears in his life almost magically.  He wakes up in the middle of the night after a drunken evening and finds someone sleeping on his couch:
“Who’s there?”

“Suppose it’s Lena.”
As it turns out, one of Dovlatov’s buddies had brought her to the communal apartment and then forgot about her.  Dovlatov showers, Lena gets dressed, they have breakfast.  Lena leaves, but first she says, “I’ll be here around six.”  She returns that evening; and she never leaves.

In all three versions, his wife’s “limitless indifference” (also referred to as “extreme imperturbability”) puzzles him to the point of exasperation and sometimes rage.  But then there are moments, mysterious and ecstatic, like the “dear God!” revelation above, or in “A Poplin Shirt,” when he finds a picture of himself in her photo album:
I suddenly realized the seriousness of everything.  If I was only now feeling this for the first time, then how much love had been lost over the long years?

I didn’t have the strength to think it through.  I never knew that love could be so strong and so sharp.
There is just one instance, a real-life event that is also repeatedly revisited in Dovlatov’s work, when his wife sheds her indifference: she decides that she and their daughter must emigrate to America.  In Pushkin Hills, when Tanya announces this to Boris, it undoes him. Boris drinks alone in his locked room for 11 days.  He begins to hallucinate; then runs out of money and booze; then pulls the blankets up over his head.  Finally Lena calls, from Austria, saying they are fine.  Boris asks if they will see each other again, to which she replies, “Yes…if you love us…”

Dovlatov ended “The Colonel Says I Love You” with essentially the same exchange. And in both endings, both stories, the same rejoinder from Dovlatov:  “What has love got to do with it?  Love is for the young…It’s beyond love.  It’s fate…”

Lena remains mysterious to both Dovlatov and to the reader. And yet the reiterations and re-explorations of her presence in his life speak to something as real as a jackdaw in the sky, an exotic flower, or even yellow sand stuck to a boot.  Lena keeps Dovlatov both honest and on his toes:
“You can’t be an artist at the expense of another human being…These are just words. Never-ending, beautiful words…I’ve had enough.” (Pushkin Hills)

Lena was not interested in my stories. I’m not even sure she had a clear idea of where I worked…My wife would just pick up the nearest book and read from wherever it opened.  That used to anger me.  Then I realized that she always ended up reading good book…(“A Poplin Shirt”)
“To love publicly is obscene!” Dovlatov shouts at his colleague on the Preserve, who is needling him to explain why he loves Pushkin. And while Dovlatov does not attempt to “explain” love, his efforts to understand it — not to mention the novel’s epigraph, To my wife, who was right — evidence a singular and permanent homage to Lena.

5.
Comparisons to Hemingway are not unfounded: Dovlatov was a big, burly man, dark-haired and mustachioed.  He was physically driven (a boxer in his younger years), a heavy drinker, a journalist.  Both served in the army and saw unimaginable violence.  “With your vices you should be a Hemingway at the very least…,” Tanya says to Boris in their last argument before he heads for Pushkin Hills.  Boris claims to disdain Hemingway’s writing, and yet, among his very few possessions is “a picture of Hemingway.”

Hemingway. Dovlatov.

But the differences are marked: to my mind, those years in the prison camp — where he confronted (and eventually recorded) the humanity he found in the darkest corners of existence, including his own — along with his lifelong union with the imperturbable Lena, set him apart from the more unmoored Hemingway.  By the time he produced the work that brought him critical acclaim, Dovlatov’s moral center — that is, his way of seeing and rendering human failure — was fully developed: he knew what he was capable of, and he knew his limitations. He had a closeknit community in Russian American New York, and a family he did love.  Perhaps, like Boris, he wrestled with spectres of “unrecognized genius,” but he was also able to poke fun at the idea of genius itself, along with the rest of life’s disappointments and absurdities.  Hemingway grew darker and more tormented in later life; Dovlatov died young, of heart failure, but he wrote 12 books in the last 12 years of his life.

A more apt comparison would be Chekhov, from whom some critics say the clarity and detachment of his narrative voice was descended. If Chekhov believed that “Man will become better when you show him what he is like,” Dovlatov was perhaps murkier on what “better” meant or looked like. Yet still he observed and rendered his fellow man with the same unflinching equanimity: whoever you are, whatever you’ve done or will do, you are worth my attention, my consciousness, on the deepest spiritual level.

And what has love got to do with it? In an interview at the Paris Review with Dovlatov’s daughter Katherine — “Katya,” who beautifully translated Pushkin Hills — she reveals:
It had to be perfect. And my English is nowhere near my father’s use of the Russian. He honed his craft. He wrote slowly and painstakingly…It was a huge responsibility. I did not want to let Dad down.
As for Lena, her mystique remains intact.  When asked what her mother thought of the translation, Katherine says: “She tells me she liked it. She thought it read well and was funny.”  You can just see Lena’s face: in Dovlatov’s words,  “untroubled as a dam,” serenely holding back the flood of lives lived.

Most Anticipated: The Great 2014 Book Preview

Last year offered many treats for readers: long-awaited new books by Donna Tartt and Norman Rush; the emergence of Rachel Kushner as a literary superstar; the breakout success of George Saunders. 2014 offers more riches. This year we’ll get to crack open new books by E.L. Doctorow, Richard Powers, Sue Monk Kidd, Lorrie Moore, Teju Cole, Mona Simpson, Lydia Davis, and Peter Matthiessen. Our own Edan Lepucki and Bill Morris will have new books on shelves in a few months. Look ahead to the hazy end of summer 2014 and a new novel by Haruki Murakami will be hitting American shores. All of these and many more are the books we’re looking forward to this year.

The list that follows isn’t exhaustive—no book preview could be—but, at 9,100 words strong and encompassing 89 titles, this is the only 2014 book preview you will ever need. Scroll down and get started.

January or Already Out:

Little Failure by Gary Shteyngart: Say what you will, but Shteyngart is putting the fun back in literary life.  If you haven’t yet seen the trailer for his fourth book and first memoir, Little Failure, well, start your new year with a giggle or two and be prepared to be delightfully convinced by the romantic (if not quite “erotic”) affection between Shteyngart and James Franco in pink bathrobes.  But seriously, folks—I’m guessing Adam Gopnik’s blurb is just what the Chekhov-Roth-Apatow of Queens (now upstate) was hoping for: “I fully expected Gary Shteyngart’s memoir of his search for love and sex in a Russian-Jewish-Queens-Oberlin upbringing to be as hilarious and indecorous and exact as it turns out to be; what I wasn’t entirely prepared for was for a book so soulful and pained in its recounting of the feints and false starts and, well, little failures of family love. Portnoy meets Chekhov meets Shteyngart! What could be better?” (Sonya)

The Invention of Wings by Sue Monk Kidd: Don’t expect to find Sue Monk Kidd’s third novel at the library anytime soon because Oprah has already selected it as her newest Book Club read. She praised the book as a “conversation changer” regarding how we think about womanhood and history. The novel follows two headstrong women trying to make a change in the Antebellum South. Sarah Grimke, the daughter of a Charleston plantation owner, trades slavery for abolitionism and the suffragist movement. Her slave Handful has equally progressive desires, and the two form an unlikely friendship. (Tess)

Andrew’s Brain by E.L. Doctorow: Doctorow’s latest novel, his twelfth, is “structured as an extended series of conversations between Andrew, a cognitive neuroscientist by training, and an unnamed man who initially appears to be his psychotherapist,” according to Publishers Weekly. Their conversations focus on Andrew’s guilt over giving up his daughter after her mother died. Given Doctorow’s reputation as king of the American historical novel, it’s worrying that early reviews complain of a lack of clarity about exactly when the story takes place, but no one dramatizes complex ideas better than Doctorow. (Michael)

The Scent of Pine by Lara Vapnyar: Lena is on the brink of an early midlife crisis: her career is stalled, she feels disconnected to her adopted country, and her marriage is faltering. She finds romance with a similarly lost academic, Ben, and the two embark on an affair in a cabin in Maine. Yet Lara Vapnyar’s sophomore novel is more than just a sexy romp in the woods. Up north, Lena reflects on a romantic and mysterious summer she spent at a Soviet children’s camp 20 years before. Early reviewers have called Vapnyar’s latest a “Russian Scheherazade.” (Tess)

On Such a Full Sea by Chang-rae Lee: Many of Chang-rae Lee’s novels are firmly grounded in reality, examining the worlds of displaced outsiders from the Korean War to the lives of immigrants in the present-day United States. His latest book leaps further afield, into the realm of speculative fiction, in a dystopian American future where declining urban neighborhoods have been transformed into “highwalled, self-contained labor colonies,” whose Chinese immigrant residents work catching fish for the surrounding elites. As with any good dystopian work, it promises to highlight and draw parallels with growing inequalities in our own society, which might “change the way readers think about the world they live in.” (Elizabeth)

Perfect by Rachel Joyce: When two seconds get added to clock time because “time was out of kilter with the natural movement of the Earth” in the 1970s, two young boys worry if the world will ever be the same. In the present day, a man is so crippled by his OCD that he struggles to maintain a normal life outside the psychiatric hospital. Rachel Joyce weaves these parallel narratives together in her highly anticipated followup to bestseller and Booker longlisted The Unlikely Pilgrimage of Harold Fry. Perfect has garnered great reviews in the U.K. with Susanna Rustin at The Guardian lauding it as, “ambitious, darker and more honest.” (Tess)

Orfeo by Richard Powers: Richard Powers’ novels are often laced with serious science, with narratives that delve into the complexities of genetic engineering, computer coding, and cognitive disorders. In Orfeo Powers returns to the pairing of DNA coding and musicality from his Gold Bug Variations, with a tech-age take on the Orpheus myth. Orfeo follows a retired music professor who’s built a DIY genetics lab where he finds musical patterns in DNA sequences. When his dog dies unexpectedly, the FBI seizes the lab, and he goes on the lam. It seems that DNA and music are inextricably paired for Powers, who noted in an essay on having his genome sequenced, “If the genome were a tune played at a nice bright allegro tempo of 120 beats per minute, it would take just short of a century to play.” (Anne)

The Radiance of Tomorrow by Ishmael Beah: Beah, a former child soldier in Sierra Leone’s civil war, detailed his experiences of the conflict and its aftermath in his 2007 memoir, A Long Way Gone. His debut novel, which Edwidge Danticat has called “formidable and memorable,” tells the story of two friends who return to their village after the war and their struggle to restore a sense of order and normalcy in the space between an unspeakable past and an uncertain future. (Emily)

 

Leaving the Sea by Ben Marcus: At Columbia’s M.F.A. Program, Ben Marcus teaches a course called “Technologies of Heartbreak”—a nifty coinage that also points to the two poles of Marcus’s own aesthetic. In his mind-blowing story collection, The Age of Wire and String, and in the first novel that followed, Marcus gravitated toward the technological: meat masks, air bodies, soft machines… Seldom did one encounter a normal human being. But his most recent novel, The Flame Alphabet, placed wild invention at the service of more straightforward emotion. It’ll be worth watching to see where Leaving the Sea comes down; it’s likely to be good either way. (Garth)

A Highly Unlikely Scenario, or a Neetsa Pizza Employee’s Guide to Saving the World by Rachel Cantor: Anybody else miss Kurt Vonnegut? Rachel Cantor is here to fill the void with her debut novel, which mixes the comic with the speculative in a voice that one early reviewer described as “Terry Pratchett crossed with Douglas Adams.” It’s got time travel, medieval kabbalists, and yes, pizza. What more can you ask for? (Hannah)

 

Silence Once Begun by Jesse Ball: In a small Japanese town, eight people disappear from their homes with only a playing card marking their doors and absences; one man, a thread salesman, confesses to the crimes and is put in jail, but refuses to speak. These disappearances form the mystery around which Jesse Ball’s fourth novel, Silence Once Begun, is constructed, and which obsess a journalist who shares Ball’s name. Interview transcripts make up the central text of a story ultimately concerned with speech, silence, and the control of information. (Anne)

The Secret History of Las Vegas by Chris Abani: Abani is both a novelist and a poet, and he brings a poet’s instinct for sublime language to his latest work, a crime novel set in Las Vegas. Salazar, a detective, is determined to solve a string of recent murders before he retires. He enlists the help of an expert in psychopathy, Dr. Sunil Singh, who is haunted by a betrayal of his loved ones in apartheid South Africa. “Here in Vegas,” Abani writes, “the glamor beguiled and blinded all but those truly intent on seeing, and in this way the tinsel of it mocked the obsessive hope of those who flocked there.” (Emily)

February:

A Place in the Country by W.G. Sebald: In his seminal novels, the late W.G. Sebald more or less obliterated the line between essay and fiction, if one even existed in the first place. Here, Sebald explores the lives and work of Robert Walser, Gottfried Keller, and other artists. The book is labeled nonfiction, but one imagines that this capstone to the English translation of Sebald’s work will offer many of the satisfactions of his novels. (Garth)

 

Praying Drunk by Kyle Minor: Along with his colleague Matt Bell, Kyle Minor was the subject of a flame war in a recent comment thread here at The Millions. But the imputation of log-rolling struck me as unfair. As someone who’s never met, spoken with, or seen Kyle Minor, I can say that the Guernica excerpt of his as-yet-unpublished novel, The Sexual Lives of Missionaries, was one of the more memorable pieces of fiction by a young writer I read in 2012. I guess we’ll have to wait a while longer to see the rest, but in the meantime, Minor’s latest story collection, Praying Drunk, promises to explore some of the same territory. (Garth)

Bark by Lorrie Moore: New Lorrie Moore! Let us rejoice! Bark is Lorrie Moore’s first short story collection since the miraculous and magnificent Birds of America came out fifteen years ago.  Some of these eight stories might be familiar; The New Yorker published “Debarking” back in 2003, and “The Juniper Tree” in 2005. All of these stories, new to you or not, should be about as pun-filled, clever, and devastating as we’ve come to expect from Moore, who is arguably the best American short story writer alive today. (Edan)

MFA vs. NYC: Two Cultures of American Fiction edited by Chad Harbach: Although its title and implied dichotomy will pain any person who writes things and is neither an MFA-holder nor connected with the NYC publishing scene, Chad Harbach’s collection of commentaries on the two major drivers of the literary economy promises to deliver valuable collective insight on the current state of writing in America.  Harbach first conceived this dichotomy in 2010 in an essay for n+1 (available online at Slate), wherein he made intriguing and provocative statements on, among other things, the rise of the MFA program (“an ingenious partial solution to an eminent American problem: how to extend our already protracted adolescence past 22 and toward 30, in order to cope with an oversupplied labor market”) and argued that the “university now rivals, if it hasn’t surpassed, New York as the economic center of the literary fiction world.”  The book will feature contributions from writers, editors, and teachers at various stages of their careers, including George Saunders, Elif Batuman, Keith Gessen, Maria Adelmann, Emily Gould, and Alexander Chee. (Lydia)

Kinder Than Solitude by Yiyun Li: Two things intrigue me right off the bat about Yiyun Li’s new novel—its title, and this, from the publisher: “Kinder Than Solitude is the story of three people whose lives are changed by a murder one of them may have committed.” A murder mystery! And from a writer as patient, observant, and precise as Li. Given Li’s gifts of insight into human nature, the story will surely evolve less around whodunit? and more around what really happened? and does it matter? The eponymous kindness seems to have been bestowed upon one of the three friends, Moran, by a man who was once her husband, at a time when she fled into—and presumably believed in the kindness of—solitude; all of which is yet more intriguing. (Sonya)

The UnAmericans by Molly Antopol: Molly Antopol’s debut is a collection about characters lost in the labyrinth of recent history. Stories are set against various geographical and historical backdrops—the McCarthy witch hunt, Communist-era Prague, Israeli settlements. The book has been accumulating some promising advance praise. Adam Johnson, for instance, has written that “Not since Robert Stone has a writer so examined the nature of disillusionment and the ways in which newfound hope can crack the cement of failed dreams.” Antopol was named one of the National Book Foundation’s “5 Under 35” last year. (Mark)

An Unnecessary Woman by Rabih Alameddine: The narrator of Rabih Alameddine’s fourth novel is reclusive seventy-two-year-old Aaliya Sobi, who lives alone in an apartment in Beirut who spends her time translating books into Arabic and then stowing them away, never to be read. The book is an exploration of Aaliya’s inner life—of her memories of Lebanon’s troubled recent history and her own turbulent past, and of her thoughts on literature and art. Colm Tóibín has compared it to Calvino and Borges, describing it as a “fiercely original act of creation”. (Mark)

Thirty Girls by Susan Minot: In 1996, The Lord’s Resistance Army kidnapped a group of 139 young teenage girls from a convent school in Uganda, holding them captive. The deputy headmistress of their school, Sister Rachele Fassera, pursued the kidnappers and negotiated the release of 109 of the girls; the remaining thirty were kept and subjected to a long ordeal of captivity and brutality.  Susan Minot’s new novel, Thirty Girls, is a fictionalized account of this mass abduction and  its aftermath. Minot tells the stories of these abductees, interweaving them with that of an American journalist named Jane Wood who is interviewing them about their experiences. In 2012, Minot published an extract of the same name in Granta’s “Exit Strategies” issue. (Mark)

Strange Bodies by Marcel Theroux: The British broadcaster and novelist Marcel Theroux, a son of Paul Theroux, wants to have it all in his fifth novel.  Strange Bodies is a high-concept literary thriller that flirts with science fiction while making inquiries into language, identity and what it means to be human.  The concept is this: Nicholas Slopen has been dead for months, yet one day he turns up to visit an old girlfriend.  He leaves behind a flash drive containing something as unbelievable as he is—a cache of letters supposedly written by Samuel Johnson.  This smart novel’s central conceit is that we are all, like books, made of words. (Bill)

The News: A User’s Manual by Alain de Botton: Known for his wide-ranging curiosity and penchant for philosophical musing, the author of How Proust Can Change Your Life, Religion for Atheists, and The Art of Travel has turned his attention to the news. This branch of the media that incorporates everything from war to celebrities getting pizza is almost omnipresent in our lives, and de Botton here examines how that affects us and how much longer the news can get bigger. (Janet)

 

The Swan Gondola by Timothy Schaffert: Schaffert’s fifth novel, which he describes on his website as “a love story (with ghosts),” is set in the 1898 Omaha World’s Fair. The fair marks a point of possible transformation, both for Omaha—still in some ways a Wild West town, but yearning for the glamor of Chicago—and for the actors, aerialists, ventriloquists, and assorted hustlers who descend on the city for the fair. Schaffert brings his trademark lyricism, precision, and exquisite character development to a love story between a ventriloquist and a secretive traveling actress.  (Emily)

A Life in Men by Gina Frangello: Gina Frangello is a true champion of indie literature—she’s an editor at The Rumpus and The Nervous Breakdown and has appeared repeatedly on the annual “Who Really Books Chicago” list—and yet she somehow finds time to write her own books, too. Frangello’s fiction is often sexual, seductive, forward, and frank. Her latest novel, A Life of Men, promises more in the same vein, with a story about two young friends, one recently diagnosed with cystic fibrosis, who travel the world seeking to fill their lives, however brief, with a wealth of experience. (Anne)

Europe in Sepia by Dubravka Ugresic: Ugresic has published several distinguished works of fiction, but her wide-ranging, boundary-blurring essays on politics and culture may be the ideal entry point for English-language readers. Here, in pieces originally published in The Baffler and elsewhere, she ranges from Occupy Wall Street to Ireland’s Aran Islands. For a preview, check out Arnon Grunberg’s tribute to Ugresic, published here last year. (Garth)

 

What’s Important is Feeling by Adam Wilson: Adam Wilson follows up his debut novel Flatscreen, a dark comedy of suburban listlessness, with a collection of stories taking place across the modern American landscape (the title story, which appeared in the Paris Review and was later included in the Best American Short Stories of 2012, describes a movie set in Texas and opens with the immortal question, “‘What is this cockshit?'”)  Like Flatscreen, What’s Important is Feeling promises youthful- to middle-aged angst, ennui, relationship troubles, and weed. (Lydia)

March:

Every Day Is for the Thief by Teju Cole: Teju Cole’s peripatetic, meditative Open City drew comparisons to Sebald and Coetzee and firmly placed Cole on the map of young authors endowed with serious smarts and talent, who engage in cultural critique—and this holds true whether he’s writing about race, class, and post-colonialism, or Tweeting about drones. Cole’s novel Every Day Is for the Thief is an “amalgamation of fiction, memory, art, and travel writing” originally culled from his blog (now removed) about a young Nigerian revisiting Lagos and a version of the book was published in 2007 by Nigeria-based Cassava Republic Press. (Anne)

What Would Lynne Tillman Do by Lynne Tillman: I ask myself this question all the time – WWLTD? – and here, in a thick abecedarium of essays introduced by Colm Tóibín, Tillman offers a variety of answers. A crib sheet: sometimes Lynne Tillman would crack wise; sometimes Lynne Tillman would offer an insight so startling I had to go back and read it twice; always Lynne Tillman would do something smarter and finer and better than I would. And that’s why you, too, should be reading Lynne Tillman. (Garth)

The Heaven of Animals by David James Poissant: Early reviews have compared Poissant’s stories, which ply the literary territory between realism and allegory, to the work of Anton Chekhov and Raymond Carver. In one story from this debut collection, a man throws his teenage son out a window when he learns the boy is gay, seeking reconciliation only after helping free an alligator from a golf club pond. In another, two parents confront the unusual complications of having a newborn baby that literally glows. Poissant, whose stories have appeared in One Story, Ploughshares, and The Atlantic, also has a novel in the works. (Michael)

Boy, Snow, Bird by Helen Oyeyemi: Oyeyemi’s newest novel will be her fifth, not bad for a writer who will celebrate her 30th birthday later this year. Oyeyemi’s 2009 novel, White is for Witching, won a Somerset Maugham Award (the prize is given to British writers under 35) and she was named to the Granta Best Of Young British Novelists list last year, following the 2011 publication of Mr. Fox, the novel that introduced Oyeyemi to many U.S. readers. Boy, Snow, Bird, Oyeyemi told the Times last year, is “about a woman named Boy who tries to avoid becoming a wicked stepmother and really doesn’t know if she’s going to manage it.” (Max)

The Brunist Day of Wrath by Robert Coover: Coover’s enormous follow-up to his first novel, Origin of the Brunists, has been delayed several times, but this spring, it should finally see the light of day. Coover’s recent short stories in The New Yorker suggest he’s still near the top of his game. (Garth)

 

 

Pushkin Hills by Sergei Dovlatov: A new translation of a Dovlatov novel is like Christmas morning for the English-speaking world; and this one from his daughter, no less.  Pushkin Hills, published 30 years ago, is one of his most popular novels in Russia (posthumously, along with all his work).  Said The Guardian of the translation that first hit the UK last fall:  “Alma Classics have been searching for a suitable translator for years. Now the writer’s daughter, Katherine Dovlatov, has captured her father’s style. . . [she] only took on the task of translating it after the publishers rejected a previous translation and numerous samples.” The story is, of course, autobiographical, featuring “[a]n unsuccessful writer and an inveterate alcoholic, Boris Alikhanov. . . running out of money and . . . recently divorced from his wife Tatyana, who intends to emigrate to the West with their daughter Masha.”  From The Independent: “Vodka-fuelled mishaps, grotesque comic cameos and—above all—quick-fire dialogue that swings and stings propel this furious twilight romp from the final days of Soviet power.” Counterpoint is publishing the book in the U.S. (Sonya)

All Our Names by Dinaw Mengestu: A MacArthur genius, a 5 Under 35 awardee, and a 20 Under 40 recipient all walk into a bar and take a single seat, because it’s one person and his name is Dinaw Mengestu. The author of the The Beautiful Things That Heaven Bears and How to Read the Air—both concerned with Africans fleeing their countries—returns this year with All Our Names, an elegiac love story about pair of African men separated by a political revolution: one in exile, and another in their war-torn homeland. Split across two narratives—one in the past, one in the present—All Our Names dramatizes the clashes between romantic idealism and disillusioned practicality, as well as between self-preservation and violence, all while blurring the identities of those who can move on, those who stay behind, and those who simply change. (Nick M.)

Blood Will Out by Walter Kirn: Billed as an In Cold Blood for the 21st century, Walter Kirn’s non-fiction book Blood Will Out: The True Story of a Murder, a Mystery, and a Masquerade tells the story of how this celebrated critic, essayist and novelist (Up In the Air, Thumbsucker) got duped by a man who claimed to be a Rockefeller but turned out to be an impostor, a child kidnapper and a brutal murderer.  Part memoir, part true-crime story and part social commentary, Blood Will Out probes the dark psychological links between the artist and the con man. (Bill)

Mount Terminus by David Grand: The titular hilltop in David Grand’s third novel roosts high above sunny, sleepy pre-Hollywood Los Angeles.  Mount Terminus is a refuge for grieving Jacob Rosenbloom, whose wife died back East.  Jacob’s invention, the Rosenbloom Loop, has revolutionized the budding art of filmmaking, and he’s determined to use his invention’s earnings to protect his son, Bloom, from the family’s past.  But Bloom, a dark, brooding genius, is prodded by his very different half-brother to come down from Mount Terminus and meet the world.  This novel, 11 years in the making, becomes that rarest of things: a plausible myth, an intimate epic. (Bill)

Falling Out of Time by David Grossman: An acclaimed Israeli novelist, Grossman found an American audience with 2010’s To the End of the Land, an epic novel of love and war hailed as a masterpiece. He returns with a allegorical novel one third its length that tells the story of Walking Man, who walks in circles around his town in an attempt to come to peace with his son’s death. Having lost his own son in 2006, Grossman here probes the meaning of loss, memory, and grief. (Janet)

Sleep Donation by Karen Russell: The newly minted MacArthur grantee mines the fertile territory between short story and novel. In Russell’s lightly science-fictionalized world (which, come to think of it, sounds a lot like my house) a deadly insomnia epidemic is spreading. The well-rested can help out the afflicted by donating their excess sleep—but scarce supplies force everyone to reevaluate the line between gift and commodity. This is the first title from Atavist Books, so expect some bells and whistles in the digital edition. (Garth)

Clever Girl by Tessa Hadley: Like Alice Munro and Evan Connell, Hadley’s devotees exclaim that her sophisticated prose and skill with character transcend their subject—the unfortunately named “domestic fiction.” Her fifth novel, Clever Girl follows the life of Stella from her adolescence in the 1960s to the present day. Stella’s life, in every description, is ordinary, but illuminates both the woman living it and the times around her. (Janet)

April:

Updike by Adam Begley: What’s left to say about John Updike that Updike didn’t already say exhaustively, and say better than anyone else could have? Yet Adam Begley has apparently found enough fresh material, or a fresh enough angle on the well-trod, to fill 576 pages. For a primer on Updike, there’s no way this book can surpass Nicholson Baker’s U&I, but it’s always a good sign when a literary biographer is a novelist himself. (Garth)

 

Can’t and Won’t by Lydia Davis: “Can’t and Won’t,” the title story from Lydia Davis’s new collection of short and short-short stories playfully pokes fun at the brevity of her fictions. In this two-sentence story the author is refused a literary prize, because of the laziness evident in his/her frequent use of linguistic contractions. Quite the contrary is true with Davis’s work, where much of the flare is tongue in cheek. Concision and precision invigorate her fictions, and apparently the prize committee agrees, as Davis was just awarded the prestigious Man Booker International Prize. (Anne)

And the Dark Sacred Night by Julia Glass: In her fifth novel, Julia Glass revisits two beloved characters—Malachy Burns and Fenno McLeod—from her first novel, the National Book Award-winning Three Junes.  The publisher’s description assures us, however, that the novel will range and weave and shift perspectives—as all Glass’s novels do—among new characters as well.  In an interview with Bloom earlier this year, Glass, who debuted with Three Junes at age 46, said: “I suspect that I simply can’t help exploring a story from many angles. . . I have to look through as many windows as I can reach; now and then I resort to a ladder.”  When interviewer Evelyn Somers described Glass as “fearless” in the way she weaves together complex stories, Glass replied: “I like the idea of being ‘fearless,’ but sometimes I think the complexity of my novels is more related to another trait I have: I’m an overpacker. . . Call me a maximalist. I won’t be insulted.” (Sonya)

Love & Treasure by Ayelet Waldman: The plot of this novel revolves around the true history of the Hungarian gold train, a trove of stolen valuables that was seized by American soldiers during World War II but which was never returned to its rightful owners. Seventy years later, the granddaughter of one of the treasure-seizing soldiers must look into the turbulent past—and into her own turbulent life—when her grandfather gives her a jeweled pendant with a murky history. (Hannah)

 

Lovers at the Chameleon Club: Paris, 1932 by Francine Prose: Francine Prose’s 20th novel, Lovers at the Chameleon Club: Paris, 1932, is framed as a biography by a French feminist high school teacher. The subject of this fictional biography is Lou Villars, based on an historical figure, a professional athlete, lesbian, cross-dresser and German spy who became a torturer and was executed by the Resistance. One early reader claimed she could smell the nicotine on the fingers of Prose’s fictional French biographer.  Woven into the text are sections of a fake Peggy Guggenheim memoir and a fake Henry Miller novel.  The latter, Prose reports, “was super fun to write.” (Bill)

Thunderstruck & Other Stories by Elizabeth McCracken: The novelist, short story writer, and memoirist Elizabeth McCracken, whose novel The Giant’s House was a finalist for the 1996 National Book Award, has earned a reputation as a writer of rare empathy and descriptive powers. Thunderstruck, her first short story collection in twenty years, charts the territory of family, love, and loss. In their review of the collection, Publisher’s Weekly wrote that “McCracken transforms life’s dead ends into transformational visions.” (Emily)

Frog Music by Emma Donoghue: Best known for the 2010 bestseller Room, Donoghue latest novel sees her returning to historical fiction (four of her eight novels are historical), this one based on a still-unsolved murder in 1870s San Francisco. After her friend is killed by a gunshot through a boardinghouse window, Blanche—a burlesque dancer, prostitute, and the only witness—is forced to seek justice on her own. (Janet)

 

All the Birds, Singing by Evie Wyld: This second novel from British thirty-something sensation Evie Wyld (After the Fire, A Still Small Voice, 2009) is about a woman named Jake who, along with a flock of sheep, is the only inhabitant on an unnamed island off the coast of Britain.  The novel came out abroad last year and revolves around a mysterious predator stalking Jake’s flock, picking off her sheep one at a time in gory fashion.  As The Guardian put it in a review last June, the novel is “not a ruminant whodunnit exactly; it is a thoughtful and intense account of a young woman seemingly determined to disappear from the world’s radar.” (Kevin)

In Paradise by Peter Matthiessen: 86-year-old lion of American letters Peter Matthiessen has written his first novel since Shadow Country and what he told the NY Times may be his “last word.” A novel based upon his own experience attending three “Bearing Witness” Zen retreats at the site of Auschwitz-Birkenau, In Paradise will describe one attendee’s experience of meditation in a former concentration camp as a non-Jew of Polish descent. (Lydia)

 

Family Life by Akhil Sharma: Sharma’s first novel, An Obedient Father, won the PEN/Hemingway and the Whiting in 2001. More than a decade later, the Indian-born writer publishes his second novel, which begins in Delhi in 1978 and tracks a family’s migration to the United States. “Life is extraordinary until tragedy strikes,” the publisher writes, “leaving one brother severely brain-damaged and the other lost and virtually orphaned in a strange land.” For a introduction to Sharma’s writing, his first short story in twelve years, about cousins living in Delhi, was published in The New Yorker this past spring: “I wrote this story as soon as I had e-mailed the novel to my editor,” he told New Yorker fiction editor Deboarah Treisman. “Get thee behind me, devil is what I thought about finishing the novel.” (Elizabeth)

With My Dog Eyes by Hilda Hilst: If 2012 was the year of Clarice Lispector, when New Directions issued four new translations of her seminal works, then 2014 may very well be the year of Lispector’s friend and fellow Brazilian author, Hilda Hilst. Obscene Madame D was Hilst’s first work translated into English, and it made appearances on my best of 2013 reading list as well as Blake Butler’s. Two more Hilst translations debut this year, with another from Nightboat (Letters from a Seducer) and Melville House’s publication of With My Dog Eyes. This title seems apt, as Hilst produced much of her work after retreating to an estate where a pack of more than one hundred dogs roamed. For a taste, check out the excerpt Bomb published last summer. (Anne)

Talking to Ourselves by Andrés Neuman: Neuman’s first novel to be translated into English, Traveler of the Century, was an enormous feat of fabulism, and was critically acclaimed when it appeared here in 2012. Talking to Ourselves demonstrates Neuman’s range by running in completely the opposite direction. This comparatively short work is set in the present day, and alternates among the voices of three family members. For those who missed Traveler of the Century, it may be an equally potent introduction to Neuman’s work. (Garth)

Cubed: A Secret History of the Workplace by Nikil Saval: Saval, an n+1 editor, has produced what may be an essential volume on a subject that bedevils so many of the over-educated and under-employed among us: the office. It is likely the rare desk jockey who hasn’t, in a fugue of 3pm boredom and amid a din of inane small talk, wondered “why does it have to be like this?” Cubed looks for an answer, exploring how the office as we know it came to be, “starting with the smoke one-room offices of the 19th century and culminating in the radical spaces of the dot-com era and beyond.” (Max)

Casebook by Mona Simpson: The consistently excellent Simpson returns with what sounds like a riff on Harriet the Spy: the story of a boy investigating his parents’ disintegrating marriage. The coming-of-age narrative is complicated here, though, by the disintegration of the possibility of privacy in the age of Facebook, or Snapchat, or whatever we’re all on now. Am I the only one hoping that the “stranger from Washington D.C. who weaves in and out of their lives” is Anthony Weiner? (Garth)

Off Course by Michelle Huneven: Michelle Huneven, author of Blame and Jamesland, returns with an engrossing and intimate new novel set in the early 1980s. Cressida Hartley is a young PhD candidate in Economics who moves to her parents’ shabby vacation cabin in the Sierras; she ends up getting drawn into the small mountain community there—in particular, its men.  According to the jacket copy, Huneven introduces us to “an intelligent young woman who discovers that love is the great distraction, and impossible love the greatest distraction of all.” Publishers Weekly says that “Cress makes for an eerily relatable and heartbreaking protagonist.” If you haven’t yet read a book by Huneven, whom Richard Russo calls “a writer of extraordinary and thrilling talent,” then you’re in for a treat. (Bonus: Michelle Huneven’s beautiful essay, “On Walking and Reading At the Same Time.”)

Labor Day: True Birth Stories by Today’s Best Women Writers, edited by Eleanor Henderson and Anna Solomon: There’s no such thing as a predictable birth—a fact that maddens parents-to-be but eventually makes for a whopper of an anecdote. If your Aunt Mildred can tell a good story about her scheduled c-section, imagine the tales that writers like Julia Glass, Lauren Groff, Dani Shapiro, and The Millions’ own Edan Lepucki can spin. (Hannah)

 

All the Rage by A. L. Kennedy: The Independent once described A. L. Kennedy as “one of nature’s Eeyores”: “She knows grimness the way some novelists know music or food.” So the Scottish writer’s sixth collection of short stories—billed as “a dozen ways of looking at love, or the lack of love”—should likely be avoided by the overly sentimental. But it promises to be marked by the dark humor that pervades her work—the “Department 5” (“a shadowy organisation about which it’s best you know nothing”) page on her website gives you a good taste. (Elizabeth)

Vernon Downs by Jaime Clarke: Clarke, the co-owner of Newtonville Books in Boston, offers a slippery roman-a-clef, or simulacrum thereof. A sad sack writer becomes obsessed with a more famous colleague, the titular Vernon Downs, who despite his lack of a middle name, bears more than a passing resemblance to Bret Easton Ellis. This is the intriguing debut title for a new indie called Roundabout Press. (Garth)

May:

The Temporary Gentleman by Sebastian Barry: The Irish poet, playwright and novelist Sebastian Barry’s new novel, The Temporary Gentleman, tells the story of Jack McNulty, an Irishman who served in the British army in the Second World and has washed up in Accra, Ghana, in 1957, determined to write down the story of his life. Jack is an ordinary man who has seen extraordinary things—as a world traveler, soldier, engineer, UN observer and ill-starred lover. Once again Barry, a repeat contender for the Man Booker Prize, deftly twines his own family history with the rumbustious history of the Irish in the 20th century. (Bill)

The Snow Queen by Michael Cunningham: Michael Cunningham’s sixth novel is set in New York City in 2004 and tells the story of two brothers facing loss. One brother, newly bereft, experiences a religious awakening; the other, whose wife is gravely ill, falls into drug use. It sounds like a tearjerker of a story, one likely to be made even more heartrending by Cunningham’s graceful prose. (Hannah)

 

My Struggle, Book III by Karl Ove Knausgaard: It’s not really news anymore that Knausgaard’s unfolding project (unfolding into English, anyway; in Norwegian, it’s already complete) is phenomenal. But now that FSG is handling the paperback editions (replete with Williamsburg-ready jacket design) you’ll be hearing even more about My Struggle. And it’s true: you should read it! Start Book I now, and you will have caught up by the time Book III comes out. (Garth)

 

Lost for Words: A Novel by Edward St Aubyn: St Aubyn’s Patrick Melrose quintet of novels, based on his own upbringing, center around the nasty dealings of a family in the English aristocracy. (James Wood diminishes regular comparisons to Waugh and Wilde, saying that despite surface similarities, St Aubyn is “he is a colder, more savage writer than either.”) His newest novel is somewhat of a departure then, a “a hilariously smart send-up of a certain major British literary award.” Readers hesitant to leave the Melrose family behind can rest assured that the new novel promises to be just as cutting as those before it. (Elizabeth)

Another Great Day at Sea: Life Aboard the USS George H.W. Bush by Geoff Dyer: Geoff Dyer’s latest sees the prolific journalist, essayist, and novelist chronicle a two-week stay aboard a US aircraft carrier. As the tallest (well, second-tallest), oldest, and easily most self-conscious person on the boat, Dyer occupied an odd position on the crew, one which forced him to reconcile his own bookish life with a lifelong interest in the military. (Those readers with Army experience may not be surprised to learn that the text is heavy on acronyms.) (Thom)

An Untamed State by Roxane Gay: If Roxane Gay wrote it, I’ll read it.  Perhaps best known for her thoughtful and engaging essays about all kinds of topics, from Orange is the New Black to Twitter to Paula Deen’s racism, Gay will publish not only a book of essays in 2014, called Bad Feminist, but also this first novel.  In An Untamed State, Mireille Duval Jameson, the daughter of one of Haiti’s richest men, is kidnapped and held captive for thirteen days by a man who calls himself the Commander.  Mat Johnson says, “An Untamed State is the kind of book you have to keep putting down because you can’t believe how good it is. Awesome, powerful, impossible to ignore, Roxane Gay is a literary force of nature. An Untamed State arrives like a hurricane.” (Edan)

All the Light We Cannot See by Anthony Doerr: A blind French girl and a young German boy navigate the perils of occupied France in the latest by the author of Memory Wall. The French girl, Marie Laure, flees Paris with her father, eventually holing up with her agoraphobic uncle in his house on the coast of Brittany. The German boy, Werner, a mechanical whiz, parlays his aptitude into a spot in the Nazi army. The Nazis ship him off to Russia and then from there to northern France. If we can trust Abraham Verghese’s endorsement, the story is “put together like a vintage timepiece.” (Thom)

The Vacationers by Emma Straub: The highlight of Emma Straub’s short story collection, Other People We Married, was the romantically lost but sympathetic Franny. We left the collection wanting to read an entire novel on her, and fortunately, Straub has done just that with her second novel after Laura Lamont’s Life in Pictures. Surprisingly, Franny is still married to Jim, and the Post family and friends are off to Mallorca to celebrate their 35th anniversary. Yet not everything is tranquil as the Mediterranean Sea, and the vacation dredges up embarrassments, rivalries, and secrets. (Tess)

To Rise Again at a Decent Hour by Joshua Ferris: To read a Joshua Ferris novel is to stare at the gaping emptiness just below the surface of modern life—and, quite often, laugh. In this third novel from the author of the much-beloved Then We Came to the End, dentist Paul O’Rourke discovers that someone is impersonating him online, with a website, a Facebook page, and a Twitter account all mysteriously created in Paul’s name. As he looks into who has stolen his identity and why, Paul begins to fear that his digital doppelgänger may be better than the real thing. (Michael)

The Painter by Peter Heller: An expressionist painter with a penchant for violence tries to outrun his own crimes in this novel by the author of The Dog Stars. The protagonist, Jim Stegner, thought he’d settled into a peaceful life in his home in rural Colorado. One day, Stegner witnesses a local man beating a horse, and the act so enrages him that he hunts down the man and kills him. He then sets off on a Dostoevskyan quest, one which sees him make sense of his actions while hiding his crime from the cops. All the while, in spite of his turmoil, he keeps painting. (Thom)

Cutting Teeth by Julia Fierro: When a group of thirty-something parents gather at a ramshackle beach house called Eden, no serpent is required for the sins, carnal and otherwise, to pile up. Fierro, founder of Brooklyn’s Sackett Street Writers’ Workshop, argued in The Millions last year that writers need to put the steam—and the human sentiment—back into sex scenes in literary novels. You may want to keep Fierro’s debut novel on a high shelf, away from children and prudish literary snobs. (Michael)

 

The Last Illusion by Porochista Khakpour: Porochista Khakpour is the author of the blazingly original (pun intended!) novel Sons and Other Flammable Objects. In her new novel, its hero, Zal, is born in a rural Iranian village to a mother who believes he is evil because of his pale skin and hair. For the first ten years of his life he’s raised in a cage with the rest of his mother’s birds—eating insects, shitting on newspaper—until he is rescued by a behavioral analyst who brings him to New York.  The Last Illusion recounts Zal’s struggles and adventures in this foreign land, where he befriends a magician, and falls for a supposed clairvoyant.  Claire Messud writes, “This ambitious, exciting literary adventure is at once grotesque, amusing, deeply sad—and wonderful, too.”  (Edan)

The Lobster Kings by Alexi Zentner: A generational drama set on fictional Loosewood Island, about the King family vying to maintain control of a centuries old lobstering dynasty.  Early reports speak of meth dealers, sibling rivalry, and intra-lobster boat love as the main threats to Cordelia King’s attempt to preserve the family business.  In an interview last April, Zentner (Touch, 2011) also allowed that one of the characters has “a Johnny Cash tape stuck in the cassette player in his truck.” (Kevin)

Wonderland by Stacey D’Erasmo: I’m particularly excited about Stacey D’Erasmo’s fourth novel Wonderland—not only because its protagonist is a female indie musician, the likes of whom have not made it into novels often, if ever (think about it); but because said musician, Anna Brundage, is on a comeback tour at age 44.  Bloomer! From the publisher: “Wonderland is a moving inquiry into the life of a woman on an unconventional path, wondering what happens next and what her passions might have cost her, seeking a version of herself she might recognize.” D’Erasmo herself, who spent a decade as a books editor, first for the Village Voice and then Bookforum, did her own later-blooming comeback as a debut novelist at age 39, and now a professor at Columbia. (Sonya)

The Rise and Fall of Great Powers by Tom Rachman: Rachman follows The Imperfectionists, a pitch perfect novel-in-stories set at a dying English-language newspaper in Rome, with a novel about a bookseller named Tooly Zylberberg, who was kidnapped as a child and then adopted by her kidnappers. In a narrative that hopscotches the globe from Bangkok to Brooklyn to the border towns of Wales, Zylberberg is lured into setting off on a journey that will unravel the mysteries of her past. Never one to worry overmuch about plot credibility, Rachman is a master of wringing pathos from essentially comic tales. (Michael)

The Possibilities by Kaui Hart Hemmings: Seven years after the publication of The Descendents—which you might remember because of a certain movie adaptation starring George Clooney—Kaui Hart Hemmings returns to the themes of familial loss, grief, and unexpected turns of fate all cast against gorgeous scenery. In The Possibilities, a Colorado mother loses her son in an avalanche near their Breckinridge home. Coping with her loss, and trying to piece her life back together, she’s suddenly confronted with something she couldn’t have seen coming. (Nick M.)

American Innovations by Rivka Galchen: It’s been six years since readers were introduced to Galchen via her ambitious debut Atmospheric Disturbances (James Wood called it “a contribution to the Hamsun-Bernhard tradition of tragicomic first-person unreliability.”) Since then she has been chosen as one of the New Yorker’s 20 writers under 40 and produced an impressive body of unusually lyrical science journalism (on topics like quantum computers and weather control). Galchen’s new collection American Innovations reflects an experiment of another sort. Per publisher FSG, “The tales in this groundbreaking collection are secretly in conversation with canonical stories, reimagined from the perspective of female characters.” “The Secret Life of Walter Mitty” and Gogol’s “The Nose” are among the stories mined. (Max)

Funny Once by Antonya Nelson: Antonya Nelson’s new story collection brings together short pieces from the last few years as well as a previously unpublished novella. In the title story, a couple, united by a shared propensity for bad behavior, reckons with the consequences of a lie they tell to their friends. In “The Village,” a woman comes to grips with her feelings about her father’s mistress. In “Three Wishes,” the novella, a group of siblings deals with the fallout of their brother’s death. Like much of the native Kansan’s work, the collection takes place largely in Heartland and Western settings. (Thom)

June:

The Book of Unknown Americans by Cristina Henríquez: The Book of Unknown Americans, the second novel by Iowa Writers Workshop graduate Cristina Henríquez, begins as a love story between a Panamanian boy and a Mexican girl.  After the girl suffers a major injury, the story moves from Mexico to a cinderblock apartment building in Delaware populated with immigrants from Latin America.  From there the novel expands outward to become a symphonic love story between these immigrants and an impossible America.  Told in a multiplicity of voices, the novel manages that rare balance of being both unflinching and unsentimental.  In doing so, it rewrites the definition of what it means to be American. (Bill)

Summer House With Swimming Pool by Hermann Koch: Last year, in a “Books of the Times” review, Janet Maslin took Hermann Koch’s novel, The Dinner, out into the town square for a public flogging. A funny thing happened though: the book ended up a bestseller. A bestseller translated from the Dutch, no less! Koch’s misanthropic view of contemporary life seemed to resonate with American audiences, and his latest appears to offer more of the same. Here, a murder disturbs the idyll of a group of friends on vacation together, bringing far darker currents to the surface. (Garth)

Paper Lantern and Ecstatic Cahoots by Stuart Dybek: Dybek’s The Coast of Chicago was, like Denis Johnson’s Jesus’ Son, practically required reading in writing programs in the late ’90s and early Aughts. Dybek’s voice was lusher than Johnson’s, and more openly romantic, but equally poetic. His follow-up, I Sailed With Magellan, sometimes let that lushness grow too wild; the gritty Chicago settings of the earlier book gave way in places to nostalgia. But a new Dybek volume is always welcome, and this year offers a treat: the simultaneous publication of two. Paper Lantern is a group of love stories, while Ecstatic Cahoots gathers together the kinds of short shorts that so memorably punctuated The Coast of Chicago. (Garth)

I’ll Be Right There by Kyung-Sook Shin: Kyung-sook Shin is one of Korea’s most popular novelists. In I’ll Be Right There, set during a period of political turmoil in 1980s South Korea, she uses European literature to bridge experiential differences between East and West. The novel concerns a highly literate woman who receives a phone call from an ex-boyfriend after nearly a decade of separation. The call triggers a flood of memories, and she finds herself reliving her intense and tumultuous youth: memories of tragedy and upheaval and of profound friendships forged in a time of uncertainty. (Emily)

In the Wolf’s Mouth by Adam Foulds: The third novel from British writer Foulds takes place at the end of World War II and follows two Allied soldiers during the final push to sweep the Germans out of Italy. In an interview last July with the Hindustan Times, Foulds previewed the book, saying, it “would like to give the reader a sense of history as being very complicated and rapid in these high-conflict situations. It is one thing after another. The events are too massive to care for particular individual stories, so there are a number of stories. For a while, one is unsure if they are going to converge but they do.” (Kevin)

July:

California by Edan Lepucki: In July, Millions staffer and preferred writing teacher Edan Lepucki will follow up her novella If You’re Not Yet Like Me with her first full-length novel, California, a post-apocalyptic number set in, er, California. Lepucki’s debut follows a young couple struggling to make it work in a shack in the wilderness and straddles the (complementary) domestic and dystopian spheres, addressing horrors like marital strife, pregnancy, and the end of society as we know it. Dan Chaon called it “a wholly original take on the post-apocalypse genre.” (Full disclosure: I have eaten meals with Edan, squeezed her baby, and admired her tiny dog. My feeling of anticipation regarding this novel is thus not impartial.) (Lydia)

Motor City Burning by Bill Morris: Our own Bill Morris, a Motor City native, tells the story of Willie Bledsoe—once an idealistic black activist, now burnt-out and trying to write a memoir about the ’60s—who joins his brother to drive a load of illegal guns up to Detroit in 1968. While in Detroit, Bledsoe becomes the top suspect in an unsolved murder from the previous year’s bloody race riots. The book will dive deep into some of Morris’s great fascinations: cars, Detroit, and the The Indigenous American Berserk that lurks below the surface. (Kevin)

Tigerman by Nick Harkaway: A couple of years back, Charlie Jane Anders—writing on i09—declared that Harkaway had invented a new genre: existential pulp. That might be as good a way as any to describe his wildly inventive ouevre, which involves ninjas, mimes, doomsday machines, schoolgirl spies, shadowy secret societies, and mechanical soldiers. His third novel, Tigerman, concerns a burnt-out sergeant of the British Army, Lester Ferris, who is sent to serve out his time on Mancreu, a shady former British colony slated for destruction, where he encounters a street kid in need of a hero. (Emily)

Friendship by Emily Gould: Emily Gould’s debut novel charts the friendship of two women who, at thirty, have been closely entwined in one another’s lives for years. Bev lives the kind of aimless life that’s easier to put up with at 23 than at 30. Amy has been coasting for some time on charisma, luck, and early success, but unfortunate decisions are catching up with her. A meditation on friendship and maturity in an era of delayed adulthood. (Emily)

Last Stories and Other Stories by William T. Vollmann: Vollmann writes so much that you forget it’s been a blue moon since he’s published a work of fiction. And that book won the National Book Award! This collection is said to comprise a bunch of ghost stories—perhaps less inherently promising than, say, a Vollmann essay on how the FBI mistook him for the Unabomber, but still liable to fascinate. One of the remarkable things about Vollmann’s story collections is the way they add up to more than the sum of their parts; I’m eager to see how these stories connect. (Garth)

The Great Glass Sea by Josh Weil: If orbital “space mirrors” reflecting constant sunlight upon Oranzheria, a massive greenhouse in Petroplavilsk, Russia, doesn’t pique your interest, then I can’t do anything for you. These are the mysterious devices at the heart of Josh Weil’s second novel, which follows two twins, Yarik and Dima, who were inseparable as children, but who have grown apart in adulthood. Today, the two work in the collective farms of Oranzheria, the “great glass sea,” to harvest crops for the benefit of the place’s billionaire owner. What follows is a story of two brothers on oppositional paths, each hoping to reconvene, all set against the backdrop of an “alternative present-day Russia.” (Nick M.)

The Hundred-Year House by Rebecca Makkai: Doug is an academic interested in the poetry of Edwin Parfitt. As it happens, Doug’s mother-in-law owns a former artists’ colony where the poet had long ago been an artist in residence. Fancy that. But for whatever reason, she prohibits Doug from entering the estate’s attic, where file cabinets of Edwin Parfitt’s papers are said to be located. After asking around, however, Doug ultimately gains access to some of the files—only to find that they are much more disturbing than he could have imagined. What ensues is a fragmented narrative, split between 1999, 1955, and 1929, in which readers see glimpses of the present day, the near past, and the final days of the artist colony, all the while affected by the enduring legacy of the estate’s original owners. (Nick M.)

August:

Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami: When Murakami’s new novel—his first since the in-all-ways-gigantic 1Q84—came out in Japan last year, there were apparently 150-deep midnight queues outside Tokyo bookstores. It sold 1 million copies in its first week alone. This is a novel, let’s remember, not a new Call of Duty game. And such were its unit-shifting powers in its author’s country that it caused a significant spike in sales of a particular recording of Franz Liszt’s “Years of Pilgrimage” piano pieces described in the novel, leading to a swift decision by Universal Music to reprint CDs of the recording to meet Murakami-based demand. The novel tells the story of Tsukuru Tazaki, a young man mysteriously ostracized by his friends. It stands a good chance of selling a few copies in English translation too. (Mark)

The Kills by Richard House: The second section of this four-part novel is called “The Massive”; it’s a title that could have stood for the whole. House’s sprawling quadruple-decker, longlisted for the Booker Prize, is a literary thriller set against the background of the Iraq War. Intriguingly, House created extensive digital video and audio supplements that unfold alongside the narrative. Not sure how that works, though, if you’re going to be reading on boring old paper, as I am. (Garth)

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