In a promotional video for The Great Frustration, Seth Fried’s debut book, the author deadpans, “Technically, the book is a collection of short stories. Though I prefer to think of it as a novel that doesn’t make any sense. [Pause.] That is how we’re marketing it.” On his “Bare-Minimum-Blog Blog,” he fantasizes about ditching literary fiction to become an advertising copywriter hawking “Seth Farm Pigeon Butter” (“the pigeon butter that’s a smidgen better”); and urges fans who want to help sales of The Great Frustation to “social media the book with social media.” And before Hurricane Irene, he offered some (good) advice to New York apartment dwellers by way of a hilarious tweet which ended up going viral.
Fried, 28, is one of the funniest writers in America. But it’s not just his sly, absurdist sense of humor that makes him an author to watch — his short stories manage to be both hilarious and tragic, both surreal and enormously sensitive. The Great Frustration is a debut, but it’s also something most writers, even the most acclaimed ones, have never accomplished: it is a perfect short story collection. It’s also the best book I read in 2011.
Too often, fiction written by very funny people can turn either frivolous or precious, but Fried’s stories never even come close to trivial. He’s a brilliant humorist — see “The Frenchman,” one of the funniest stories I’ve read in years — but he doesn’t use jokes where they don’t belong, and he never uses humor to show off, or to avoid tragic conclusions that many authors would rather not face.
Humor isn’t the only weapon in his arsenal. Fried has a keen sense of history and science, which he uses to great effect in stories like the heartbreaking “The Misery of the Conquistador” and the uniquely beautiful “Animacula: A Young Scientist’s Guide to New Creatures.” (I wouldn’t be surprised if both of those stories someday end up in a definitive anthology of American fiction; they’re that good.) Like Anton Chekhov, Flannery O’Connor, and George Saunders, Fried is a master at the absurdities, small and large, that make up the human condition. He’s a deeply funny, deeply generous author, and on the basis of The Great Frustration, I’m ready to pay him the biggest compliment I could ever give an author: there’s never been a writer exactly like him before.
I should mention some of the other great books I read in 2011. This year brought some amazing fiction — Alan Heathcock’s dark, beautiful short story collection Volt, and the brilliant novels Zazen by Vanessa Veselka, The Marriage Plot by Jeffrey Eugenides, and, especially, The Vices by Lawrence Douglas. I was happy to read two wonderful essay collections, If You Knew Then What I Know Now by Ryan Van Meter, and You Must Go and Win by Alina Simone (who, like Fried, is also a gifted humorist). And the books The Psychopath Test by Jon Ronson and Rin Tin Tin by Susan Orlean were shining examples of flawless nonfiction. And finally, this was the year that I promised myself I would catch up on the classics I’ve missed, and read Bleak House.
I did not. Here’s to 2012.
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It’s a big week for new books. Amitav Ghosh’s River of Smoke is now out, as is Lost Memory of Skin by Russell Banks, Chango’s Beads and Two-Tone Shoes by William Kennedy, Luminous Airplanes by Paul La Farge, and The Funny Man by John Warner, who recently appeared in these pages. Philip Roth’s American Trilogy is getting the Library of America treatment. (Capsule previews of all of the preceding titles are available here, incidentally). New in non-fiction is Stephen Greenblatt’s The Swerve: How the World Became Modern and Susan Orlean’s Rin Tin Tin. And out in paperback: none other than Jonathan Franzen’s Freedom.