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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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The Shoddy Afterlife of a Reality Hunger Appropriation
1.
Two years in print, David Shield’s Reality Hunger: A Manifesto, retains its provocative allure as he explores what he argues is the arbitrary distinction between non-fiction and fiction, what’s real and what is made up. His manifesto is still fun and easy to read –– open up to any page and you get an aphorism or mini-essay, inciting you to rally to his cause. Here’s a short entry I picked by randomly opening the book, on pg. 133:
391
A conversational dynamic––the desire for contact––is ingrained in the form.
Interesting, and it certainly makes sense (he’s talking about non-fiction), but who said that? To find out, you can turn to the list of citations in the Appendix, which Shields introduces with a disclaimer, saying the Random House lawyers forced him to put the citations in, as he prefers you not to know who wrote what, and you’ll see that number 391 is associated with Philip Lopate’s The Art of the Personal Essay. No page number is given, for this or any of the other citations, but if you enter key terms from the passage into Amazon.com’s "Look Inside The Book," you’ll find the source, on page xxv of Lopate’s book, which Shields truncated but otherwise didn’t change. This is interesting, since, as Shields admits, sometimes he rewrites his quotes to suit his artistic goals.
According to his interview with The Millions (Part II), Shields doesn’t encourage these investigations into the sources of his material. He says:
My ideal reader is not going to be a quote-spotter or a cite-sifter. I very much want the reader to experience a certain vertigo when reading the book—is this Shields? Is it Chung? [Our interviewer]. Is it some odd combination of the two? Is it both? Is it neither? Is it all of us?
Shields wants us, as he advises in his disclaimer in the Appendix, to “simply grab a sharp pair of scissors or a razor blade or box cutter” and cut out the citation pages and read the book as he originally intended. But isn’t this part of the conversational dynamic, as well, to follow his quotes and appropriations to the original sources, to get further provoked, entertained, and delighted? And why should I listen to Shields, anyway? He clearly takes delight in blurring the distinction between truth and fiction, even suggesting that he sometimes lies. Who made him the boss?
2.
When I sat down to talk to Paul Elie about his new book, Reinventing Bach, I had a question for him that was inspired by Shields’ book: I wanted to ask if he believed that writing about his experience and passion for Bach in such a direct and palpable way satisfied the reader’s hunger for the reality that Shields is talking about, that if he believed that by cutting through the obfuscations of most biographies with their mounds of academic detail, be brought us closer to the “real” experience. But Elie brought up Shields before I did, to lament how Shields not only misquoted him in Reality Hunger, but also gravely misrepresented the overall intent of his work, and how recently this has led to another author, Gideon Lewis-Kraus, perpetuating this misrepresentation in his new book, A Sense of Direction. I followed the trail of the citations to trace how the original source in Elie’s book morphed via Shields to reach the pages of Lewis-Kraus, and see for myself whether Elie was justified in accusing Shields of falsifying his work.
Let’s start the investigation with the entry in question in Shields’s manifesto, on page 182:
547
Contemporary culture makes pilgrimage impossible. Experience is always secondhand, planned and described for one’s consumption by others in advance. Even the rare, authentically direct experience is spoiled by self-consciousness. We’re doomed to an imitation of life.
When I read the manifesto for the first time, over a year ago, I was constantly flipping back and forth between the entries and citations, and learned that 547 was from Paul Elie’s first book, The Life You Save May Be Your Own, which was, unlike most of the entries, from a book I’d actually read. I didn’t look up the source of the quote, though, not then –– the subtitle of Elie’s first book was An American Pilgrimage, so the passage was resonant of his subject matter, at least at a glance. And if the stridency or negativity of the passage set off any warning bells, I don’t remember them, though I may indeed have experienced a tinge of the vertigo that Shields says he likes to provoke, as the passage is not characteristic of Elie’s book, which wasn’t a polemic with a negative spin. It’s anything but. I should have been astute enough to realize that “We’re doomed to an imitation of life” wasn’t something Elie was likely to have ever written, but I was probably too excited to keep reading the manifesto to find out what cool passage-citations I’d discover next. In retrospect, I wish I’d slowed down and read more carefully.
Using "Look Inside the Book" again, I entered different search terms from Shields’s passage to find the source of his entry in Elie’s book –– “contemporary culture” yielded zero results, but “spoiled by self-consciousness” led me page 278, to a discussion of Walker Percy’s essay, “The Loss of the Creature,” which Elie described as “an essay about the ways language stands between the self and reality.” Elie summarizes and comments on a story Percy tells in his essay about tourists struggling to find an authentic experience, including an American couple who “leave town, get lost, and stumble on some natives performing a ‘corn dance’ in a remote village.” The couple, according to Percy’s story, convinced this was the authentic experience they were looking for, bring an ethnologist back with them, to validate it and get his approval. Then comes the encapsulated inspiration for Shield’s entry. Elie writes:
Percy’s point –– in the language of pilgrimage –– is that the modern predicament makes pilgrimage impossible. In the modern world (now generally called postmodern), all experience is always secondhand, planned, and described for one’s consumption by others in advance. Even the rare authentically direct experience is spoiled by modern self-consciousness. The modern person is doomed to an imitation of life; the self cannot escape itself and know the world or the Other.
Let’s compare Elie’s original passage and Shields’s subsequent riff, restated here so you don’t have to scroll up and down.
547
Contemporary culture makes pilgrimage impossible. Experience is always secondhand, planned and described for one’s consumption by others in advance. Even the rare, authentically direct experience is spoiled by self-consciousness. We’re doomed to an imitation of life.
You might argue that Shields keeps the gist of the original, and, like any good aphorist, even improves on the point being made by streamlining the main ideas. Shields changes the existential term “modern predicament” to the easier-to-relate to “contemporary culture,” in order to paint a more tangible villain for the crime, and he also gets rid of the religious aspect of the passage by editing out the last part: “the self cannot escape itself and know the world or the Other” –– meaning God or the divine. Nor does he bother including anything from the subsequent paragraph, which introduces Elie’s hopeful counter perspective –– “The self can try, however. That is Percy’s real point.” As he does throughout the book, Elie offers a brilliant, nuanced evocation of a great writer’s ideas –– in this case, Walker Percy’s –– from various angles.
In addition to extracting the quote from a larger narrative and changing words, Shields also purges any reference to the original source of these ideas: Walker Percy himself. So instead of us readers clearly understanding that in the passage Elie is not presenting his own argument, but clearly providing a summarization and commentary on Walker Percy’s essay, we are led to believe through the citation that Elie himself argued for, believed, and was trying to convince us that “we’re doomed to an imitation of life.”
To get at the nuance of this is difficult without reading Elie’s book, but trust me, Elie is not saying “we’re doomed to an imitation of life.” As he stated in our interview, “the thrust of both my books is that you can live authentically and the obvious fact that experience is mediated to us is not necessarily crippling. It’s often enabling.”
But what’s the harm? Shields told us what he was up to, in that disclaimer in the Appendix, that in his book he is appropriating and plagiarizing and us not knowing when and where is part of the fun. And if Elie has a right to be offended, was it even Shields’s fault? Why not blame the Random House attorneys who forced Shields to put in the citations (Upon the threat of what? They wouldn’t publish the book?). If the attorneys hadn’t insisted, it was unlikely anyone would have associated the condensed and rewritten passage in Shields's book with Elie’s original in the first place. (I studied the book for an interview we did, and I didn’t see the connection). And as for the quote-spotters and cite-sifters who do spot the connection, get a life! As Shields says in his Appendix, reality can’t be copyrighted.
Elie may have forgiven Shields for taking his self-avowed creative license if Elie hadn’t received emails this spring telling him that he was quoted in a new memoir by Gideon Lewis-Kraus, A Sense of Direction. Here’s the quote in question in Lewis-Kraus’s book, which I found on page 236.
Paul Elie writes, “Contemporary culture makes pilgrimage impossible. Experience is always second-hand, planned and described for one’s consumption by others in advance. Even the rare, authentically direct experience is spoiled by self-consciousness. We’re doomed to an imitation of life.”
Yes, you read it right, this quote that Lewis-Kraus attributes to Elie, is not from Elie’s book at all, but an exact quote of the passage in Shields’s book (that is, besides adding the dash to “secondhand”). Lewis-Kraus is quoting Shields, not Elie. And here’s what Lewis-Kraus says next, about the (mis)quote:
Of course, life is never an imitation of life; life is simply life. And no experience is any more or less direct than any other one. But the point of view Elie offers is worth considering, more for its assumptions than its shoddy lament. Being self-conscious about an experience means, to Elie, standing at a remove from it. This remove is created by the fact that we all know, at any given time, that there is an associated cost, that we could be doing something else. (Author’s emphasis).
Let’s review. Lewis-Kraus first misquotes Elie, then he proceeds to contradict what he misquotes Elie had written (“life is never an imitation of life; life is simply life”), and then characterizes what he wrongly alleges Elie having written as a “shoddy lament.”
Since the word “shoddy” struck me as especially harsh here, I looked it up. According to the Free Dictionary, shoddy means: 1. Made of or containing inferior material. 2. a. Of poor quality or craft. b. Rundown; shabby. 3. Dishonest or reprehensible: shoddy business practices. 4. Conspicuously and cheaply imitative. I understand now, with a healthy dash of the vertigo Shields hoped to provoke in me, why Elie was irked. It irks me to read Lewis-Kraus’s excerpt, which I’m afraid epitomizes the term shoddy. Not only does Lewis-Kraus screw up the attribution, assigning it not to Shields but to Elie, he disparages what he says is Elie’s work, and then to top it off, carries on with statements that Lewis-Kraus might believe -- this business about self-consciousness and knowing we could be doing something else -- that don’t follow from anything that Shields or Elie or Percy wrote.
So let’s agree this is shoddy work. So is it Lewis-Kraus’s fault or maybe his publisher’s? Unlike in Shields’s manifesto, Lewis-Kraus includes no citations at all, with page numbers or not. If he had included citations, perhaps a thoughtful editor would have traced the misquote back to that artsy prankster Shields and this mess would have been averted. But no citations; this is art.
Or maybe we should let Lewis-Kraus off the hook and blame Shields instead? He is the perp, after all, who put this meme out there, however he couched it, associating his shoddy lament (Lewis-Kraus’s term, not mine) with Elie, who I reiterate did not write either of these identical passages attributed to him by Shields and Lewis-Kraus. But whether Shields is culpable or not, he may be delighted at this cascade of appropriations and misquotes –– and why wouldn’t he be? They prompted this inquiry, which will in turn perhaps spur more controversy and further the reality hunger conversation that he has gleefully provoked in our literary culture. Or: maybe he feels, like I do, or any reasonable person who takes the time to follow the trail, a sense we may have lost something with this shoddiness masquerading as art.
Experiencing the Superabundance of Bach: The Millions Interviews Paul Elie
Back in 2003, I interviewed Paul Elie about The Life You Save May Be Your Own, his book on the lives and work of the great Catholic writers Thomas Merton, Dorothy Day, Flannery O’Connor, and Walker Percy, and the connections between them. Unlike so many biographers who pummel you with exhaustive detail while affecting a cool academic distance, Elie put his deep emotional connection to his subjects at center stage, inviting us to join him in knowing the lives and work of writers who mean so much to him.
When he told me back then that his next book would be about the recordings of J.S. Bach, it seemed a jump in an entirely different direction, but after reading his new book, Reinventing Bach, I can see that the move makes absolute sense. Here, as in the earlier book, Elie mixes biography, history, travelogue, and personal reflection to tell the story of the great composer, and also the captivating stories of the most celebrated modern interpreters of his music, including Albert Schweitzer, Pablo Casals, Leopold Stokowski, and Glenn Gould, who reinvented Bach for the age of recordings. In doing so, Elie once again gives us a compellingly readable and intellectually satisfying meditation on art that inspires us to discover and find joy in the work -- in this case from Bach and the constellation of geniuses who devoted their lives to his music.
This February, Elie, who for many years was a senior editor at FSG, became a senior fellow with Georgetown University’s Berkeley Center for Religion, Peace, and World Affairs. We met near his shared writing studio at Four and Twenty Blackbirds in the Gowanus section of Brooklyn, with pies and scones on the plank table and Pandora playing loudly in the background, to talk about the book.
The Millions: When did you decide to write a book about Bach?
Paul Elie: I think I suspected that my interest in Bach would turn into a book even before I wrote my first book, but I didn’t know enough about Bach yet to write it. I had the ardor without the sense to know what to do with it. I kept making notes and listening to recordings and putting myself into encounters with Bach’s music, aware that after some time something would come of it.
TM: Were you conscious of the connections between your two books as you were writing this new one?
PE: Very much so, in the sense that I knew that in the new book as well as the old one I was telling distinct stories that come together as one story. I realized that Albert Schweitzer and Pablo Casals were near-exact contemporaries, that they had similar preoccupations, and that they made their crucial Bach recordings in London in the middle thirties. Casals’s famous recording of Bach’s cello suites, which he began at Abbey Road studios in November 1936, follows Schweitzer’s recording at the church of All Hallows in the old City by about a year. You read those dates in CD liner notes and feel connections emerging unbidden.
Also, the two books are alike in the sense that they are meant to represent areas where transcendence still feels authentic in our society. The four writers whose stories I told in The Life You Save May Be Your Own make Christian belief credible to people for whom it might not otherwise be so, and that’s true of Bach, too. His music seems to find receptive ears among people of faith, people of no faith, and people who don’t think the matter of faith makes any difference one way or the other.
[Elie pauses and smiles at the music being played on the radio -- the slow organ opening to Procol Harum’s "A Whiter Shade of Pale."]
Listen to that. That organ riff is basically the same riff as in Bach’s “Air on the G String.” Gary Brooker of Procol Harum said that he was noodling around on Bach on the piano and the song came out -- a song that has made millions of dollars for him and the rest of the band. It’s not just the two of us sitting here in a café saying, “That sounds like Bach.” The songwriter himself actually said so. People often describe the instrumental middle section of the Beatles’s song “In My Life” as Baroque-like, but it’s not just an impression: John Lennon himself said to George Martin, “Play like Bach” -- and then went out for a smoke or whatever.
TM: When you first mention Abbey Road (in regard to Casals’s recording of the cello suites), I of course thought of the Beatles and hoped they’d come into the story, and they do.
PE: If you are writing a narrative work, you never flash-forward if you can help it; you forbid yourself to make comments like “Abbey Road, which would later become famous as the studio of the Beatles.” So many biographies are ruined by that move: it’s a biography of Shelley, say, and the author will intone, “It was now a week before Shelley’s death.” And so you know when Shelley goes out sailing that he’s never coming back -- when the power of Shelley’s story lies in the fact that his life was cut off abruptly when he was still a young man.
TM: Takes away the suspense.
PE: Withholding some of the information you have is a way to produce the narrative effect that you need. The excitement of writing the book is figuring out where to do certain things -- when to withhold, and when to disclose.
TM: How, in the practical sense, did you work out a story that covers 75 years and brings in Bach’s own story, which took place two hundred years earlier? Did you have timelines? An architecture you were trying to fit the pieces into?
PE: At one point early on I had a giant piece of graph paper, as big as a tablecloth, with a lot of Post-Its on it -- but that was just a way to get the brain working; once it was made, I never looked at it again. The decision to give Schweitzer, Casals, and Stokowski each his own part or suite came pretty early. When I realized that each suite coincided with a great leap forward in audio technology, the structure firmed up considerably. The wild card was Bach -- how to get Bach himself in there. When I realized that he was an inventor -- the composer of the Two- and Three-Part Inventions -- it clicked. Bach’s way of invention could run in parallel to the inventive powers of his modern interpreters and of pioneers in recording technology. But that was several years in. You have to be ready to work in the dark.
TM: It seemed you used musical techniques, not only in making the overall structure akin to a suite but in particular passages. For example, you return to certain key scenes, like Schweitzer making his seminal recording of the "Toccata and Fugue in D Minor," as if they are recurring musical motifs.
PE: I definitely wanted the book to feel musical, but I didn’t attempt to use musical motifs in a rigorous way. In Bach’s cello suites, the fifth suite is longer than the others, so I made my fifth suite a little longer. But I left it at that. I’m not a classically trained musician. I don’t know canon and fugue inside out the way some musicians do.
I’ve noticed that those formal preoccupations sometimes deform books about music. Take Anthony Burgess, a writer whose more naturalistic work I love: in the works where he’s expressly trying to make a piece of music in words, the formal element can become a distraction. I was definitely wary of overdoing the musical effects that way. I hoped instead to absorb enough of Bach’s way of doing things to approximate some of his effects. All the while I was writing the book, after all, I was listening to recordings of the music of Bach, the best pattern maker who ever lived, and I hope that I was able to bring a little of that patterning into the book through my own patterns.
TM: By listening, the inventions get inside of you, and you let it come out organically.
PE: Right. Even if you don’t know every jot and tittle of the Inventions, you can hear that they are inventive. You can hear how they are distinctly different from one another. When I was teaching writing at Columbia, I found myself stressing the need for variety, especially in longer work. You need to keep making it new straight through to the end, not just develop the motifs you’ve already set going. So if you opened chapter three with a long descriptive passage, you might try to open chapter four with dialogue, and chapter five by extending a metaphor that goes outside the main story, or whatever -- the way Bach varied his openings in his suites, or the way a card player would vary his openings.
TM: How do you approach listening to this near inexhaustible supply of great music? Did you strive for a sense of completeness or trust your explorations would take you were you needed to go?
PE: I had to trust that the book would take me there. The fact that there is so much of Bach’s music, and so many recordings, means that you know from the start that you are never going to hear it all, even if you live to be 100. There’s always going to be a freshly rearranged cantata, or another new recording. So as a writer you know you have to cover all the important works and let other pieces fill themselves in.
Once FSG moved from Union Square to 18th Street, I had the tremendous good fortune of working upstairs from Academy Records, the best CD shop I can imagine for obscure CDs of classical music remastered from old 78s. I’d go down to the shop religiously at least once a week and keep an eye out for strange stuff: the lute suites played on the Lautenwerk, an instrument Bach invented, or a straight-through live recording of the Goldberg Variations by a pianist who threw the I Ching with John Cage. I would also talk about Bach with people and they would send me things -- links to YouTube videos, movies with Bach used as incidental music. Somebody told me that Jimmy Page quotes a Bach bourrée in the live version of “Heartbreaker” -- and sure enough, in the Led Zeppelin video from Earls Court, there it is.
One evening I was walking up Broadway on my way to teach at Columbia, and I noticed that a street vendor selling CDs had about three quarters of a “complete” Bach set issued in 2000, the 250th anniversary of Bach’s death. I took one look and said, “Forty dollars,” and he said, “Done.” I showed up at class five minutes late with a rubber-banded stack of CDs as long as my arm and told the students -- this is the way the book is being written. You have to be willing to get lucky.
TM: There’s so much depth there, how did you know when to stop? The book is 400 pages and probably includes the stories of a hundred musicians, not just your protagonists. Was the manuscript much larger in draft? Did you have to prune it down?
PE: It wasn’t that much larger. I like the definition of art given by St. Thomas Aquinas. A work of art, Aquinas said, possesses wholeness, harmony, and radiance, and some translators render it as order, proportion and radiance. In writing the book, I was always thinking about proportion. Before you go too deeply into an arcane exploration of the "St. Matthew Passion" or whatever, you have to ask yourself whether the structure of the book you are writing can bear it. In the case of the "St. Matthew Passion," I found a way to dovetail the two main narrative lines of the book so that the account of Bach composing the work in 1727 was followed immediately by the account of Otto Klemperer leading a recording of it in London in 1961. That kind of joinery is what makes the structure hold up. That’s the idea, anyhow.
TM: In the prelude of the book, you write that the recorded music from Bach “defies the argument that experience mediated by technology is a diminished thing.” Glenn Gould embraced this idea -- he believed that the microphone and his ability to record his performances in relative solitude and them send them out into the world expanded his possibilities as a musician, rather than diminished his creative life.
PE: All of us are aware of the potential of technology, but we assume that there’s a cost too -- that there’s something inhuman about technology, and that the inhumanity is the price we have to pay for the convenience. But Gould’s experience was very different. He said, No, I’m more myself when I am playing before the microphone than in the crazy circus of a recital, where I’m wearing awkward concert dress and I have to talk to strangers afterwards. I’m more human when I’m in a recording studio.
The Life You Save May Be Your Own was written out of the conviction that mediated experience is not necessarily inauthentic. The four writers in the book had religious experience “mediated” to them through the works of great writers like Tolstoy and Dostoevsky; they sought such experience for themselves, and then in effect “mediated” their experience to the next generation through their own writing.
In Reality Hunger, as you know, David Shields made a hodgepodge of riffs on other people’s work and one of the riffs is taken from my first book. It’s a baffling revision of what I wrote -- he got the sense of the passage and the book exactly wrong. It’s a paraphrase of a stock late modern or postmodern point of view that Walker Percy was writing his way out of, in a particular essay and then, in effect, in his entire subsequent 30-year career, and the story I tell in the book is of the great effort he made to transcend that point of view in his life and his writing. Percy succeeded, I’d say, and that he and his counterparts managed to do so is the heart of my book.
TM: Shields is attributing the paraphrase to you.
PE: I know him a bit, and I have admired his work. I couldn’t figure out whether he’d gotten the point wrong because he had honestly missed it, or because he was angry at me and decided to falsify my work, or because it’s part of the game he’s playing to show that you can rewrite other people’s conclusions to suit your own, or because he didn’t actually read the book, just saw that passage quoted somewhere. I don’t know. In any case, now people are writing to me -- “do you see you’re quoted in Gideon Lewis-Kraus’s book [A Sense of Direction]?” Well, I’m not quoted, and it seems to me that the whole passage as I wrote it would have been more apt for Lewis-Kraus than the paraphrase he wound up citing. I’d like to send him my book. Because the thrust of both my books is that you can live authentically and the obvious fact that experience is mediated to us is not necessarily crippling. It’s often enabling.
TM: If I picked up a typical biography of a vaunted figure like Bach, I’d expect a crushing amount of “authoritative” detail. Your book is almost the opposite. You’re not trying to say, “This is the final authoritative work on Bach,” but “This is my experience of this great artist and his work. See and listen for yourself.”
PE: I’m not capable of writing the definitive book about Bach. I don’t have German. I’m not a musicologist. But the fact is, the books by musicologists and German language scholars aren’t definitive either. Five biographies of Bach were published in English or in English translation in the last 10 years. They are remarkable works, and I was able to draw from an amazing flowering of research and scholarship that is found in them. The fact that those books exist enables me as a writer on Bach to get everything right, I hope, but also frees me from certain obligations. I don’t have to produce a chart or table showing which pipe organ Bach inspected at which date in his career. It has already been done.
I think the presence of the web can be liberating for nonfiction writers. In the age prior to ours, there was a certain kind of biographer who felt a professional obligation to work stuff into the book, because if it weren’t in the book there would be no access to it. You wound up with multi-volume biographies of middling people, books that are a combination of a life story and a scholarly resource. I don’t want my book to be a resource. I want it to be a work of art in its own right an invitation to the reader to experience all the music of Bach that’s out there.
TM: You’re saying to the reader you don’t need to have a certain background. You can experience Bach as music. That just listening can be your way in.
PE: My most important formative experience of Bach was the WKCR Bachfest, which airs every year. In graduate school, I listened to the station for jazz, and suddenly the music of Bach took over for 10 days around Christmas and I was blown away. I know now that I was getting educated in Bach, but at the time I was just blissing out. I was having what to me is the fundamental experience of Bach -- the experience of the superabundance of the music. There is so much Bach. WKCR can play Bach for 10 days and have lots left over. As a listener, you’re buoyed up by the knowledge you’re not going to reach the end of Bach -- not ever.
That’s a long way of saying my point of entry was pleasure, full stop. I hope the pleasure comes through in the book.
TM: As I was reading, I was engaged in the stories of Schweitzer, Casals, Stokowski, and Gould, but then they all die about three-quarters of the way through the book, and I wondered how could you possibly sustain the narrative drive to make me want to keep reading. Then you interject yourself into the story and you give the reader another opportunity to experience the seminal recordings, through you.
PE: People often say that you have to decide whether your book is written in the first person or the third person, that you must have a scheme. But the FSG way is to figure out what feels right rather than working in absolutes. Most great works of literature are mongrel works, blended things. When he was editing my first book, Jonathan Galassi warned me not to load up the story with personal experiences early on. He was absolutely right. This time, at some level he let me know that it felt right for me to come into the book later rather than earlier. As for the earlier sections, I drew on my own experiences as a listener -- and I tried to make my descriptions of the music personal and passionate but without suddenly putting the reader in my apartment in 2000 and spoiling the flow of the story that is taking place in the war years.
The narrative possibilities for non-fiction are just extraordinary right now. We know that we don’t have to make our books resources. We don’t have to take timeouts from the narrative to enter data into the record. We know that we can make a nonfiction book a work of art -- a sculpted thing that does allow the reader to be immersed, does have the vividness associated with fiction, the sense of layering, of recapitulations, and of a whole figurative scheme working organically between the lines. That’s tremendously exciting.
Tuesday New Release Day: Rushdie, Boyle, Moore, Welsh, Elie, Simmons, Roth
New this week: Salman Rushdie's much talked about memoir Joseph Anton, T.C. Boyle's San Miguel, The Life of Objects by Susanna Moore, and Irvine Welsh's Trainspotting prequel Skagboys. Also new this week: Paul Elie's Reinventing Bach, Sylvie Simmons's biography I'm Your Man: The Life of Leonard Cohen, and n+1 vet Marco Roth's memoir The Scientists.
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