Most Anticipated: The Great 2023A Book Preview
Welcome to our biannual Great Book Preview! We've assembled the best books of 2023A (that is, the first half of 2023), including new work from Nicole Chung, Tsitsi Dangarembga, Claire Dederer, Brian Dillon, Samantha Irby, Heidi Julavits, Catherine Lacy, Mario Vargas Llosa, Rebecca Makkai, Fernanda Melchor, Lorrie Moore, Jenny Odell, Curtis Sittenfeld, Clint Smith, Zadie Smith, Brandon Taylor, Colm Tóibín, and many, many more. At 85 titles, you may notice our 2023A list is a bit trimmer and more selective than in year's past. We wanted to make sure that our list comprises the books that we are truly anticipating the most—which is to say, we've carefully curated our selections to showcase the very best books coming out in the first half of 2023. We hope you enjoy! Love reading our Great Book Previews? Learn how you can support The Millions here. January Age of Vice by Deepti Kapoor Part crime thriller and part saga of the powerful Wadia family, Age of Vice roams across India, from the dusty villages of Uttar Pradesh to the cauldron of New Delhi. Three lives intersect in this world of lavish estates, extravagant parties, drugs and seamy business deals: Ajay, the watchful family servant; Sunny, the playboy heir; and Neda, a journalist out to expose the consequences of corruption. The writing has authority. Kapoor, author of the novel Bad Character, grew up in northern India and has worked as a journalist in New Delhi. The result is an addictive, vivid spellbinder of a novel. —Bill Morris Decent People by De'Shawn Charles Winslow Winslow returns to the fictional Southern town of West Mills for a second time in this expertly-plotted and character-driven follow-up to his award-winning debut novel. In the 1970s, an investigation into a triple homicide reveals surprising and profoundly sad layers of reality for the townspeople of West Mills—the trauma and ramifications of segregation, class, deeply kept secrets, and underlying homophobia. A haunting, page-turning mystery, Decent People makes a must-read on anyone’s literary list. —Jianan Qian The Survivalists by Kashana Cauley In this debut novel, a perpetually single Black lawyer, Aretha, falls in love with Aaron, a coffee entrepreneur who shares a brownstone with a stable of bizarre roommates. When Aretha moves in with Aaron, she gets caught up in their household dramas, which range from illegal gun sales to half-baked schemes to prepare for the end of the world. It will not surprise people who’ve read Cauley's essays—or seen her work on The Daily Show, or read her excellent tweets—that The Survivalists is, according to Tom Perrotta, an “edgy” and “darkly funny” book. —Thom Beckwith Still Pictures by Janet Malcolm Malcolm was a master of reportage, able to dissect and decipher her subjects with startling precision. (Also one of my own writerly heroes.) She often mused on the relationship between journalist and subject; in much of her journalism, she judged her subjects from a cool distance. How, then, would she approach a memoir? What would a self-portrait by one of our most formidable portraitists look like? These were the questions that exhilarated me when I began Malcolm's posthumous memoir. Still Pictures is as much a look at Malcolm's own photos and memories as the nature of photography and memory, written with all her characteristic style and clarity. —Sophia M. Stewart The Half Known Life by Pico Iyer In this philosophical and theological travelog, Iyer searches the globe for paradise. Not for himself—he wants to understand the idea of paradise, that incentive and dream and goal that undergirds the world's religions. Maria Popova herself, the brilliant mind behind The Marginalian, has called Iyer "one of the most soulful and perceptive writers of our time" and I expect The Half Known Life will further cement that status. —SMS OK by Michelle McSweeney In this slim and lucid addition to the Object Lessons series, which explores the hidden lives of everyday objects, linguist and author Michelle McSweeney unpacks the phrase “OK,” coined 200 years ago and now ubiquitous in spoken English. As an object, “OK” reveals how technologies inscribe themselves into languages—originally, it was an acronym that stood for “all correct,” a phrase which marked some of the earliest printed newspapers as ready for publication. From there, McSweeney traces the word’s evolution through the present, illuminating the ways in which its meaning developed over time. —TB The 12th Commandment by Daniel Torday Torday presents a provocative and unexpected tale of contemporary Jewish life that owes less to Philip Roth and Saul Bellow than it does to Cynthia Ozick and Isaac Bashevis Singer. The 12th Commandment concerns the historical sect known as the Dönmeh, Turkish followers of a seventeenth-century Jewish pseudo-messiah who outwardly practice Islam but who are actually adherents of an esoteric kabbalistic faith. “Weird folk,” explains a character, “They’re like Jews and Muslims at the same time. Or something.” Unexpectedly set among an imagined group of Dönmeh in small-town Ohio, with a noirish murder plot driving the action, and The 12th Commandment will appeal to fans of Michael Chabon’s The Yiddish Policeman’s Union, but Torday’s unique imagination and vital vision are his own. —Ed Simon Forbidden Notebook by Alba de Céspedes, translated by Ann Goldstein The story begins when Valeria Cossati—a 43-year-old office worker, self-sacrificing wife, and mother of two—buys a thick black notebook and begins writing at night—her thoughts, experiences, and fury. What follows over the course of six months are reflections on motherhood and femininity in postwar Rome that were as urgent and revelatory in the 1950s, when the novel was originally published, as they are today in post-Roe America. In the words of Annie Ernaux: “Reading Alba de Céspedes was, for me, like breaking into an unknown universe.” —Jenny Wu Life on Delay: Making Peace with a Stutter by John Hendrickson I've been waiting for John to write this book since I first read his paradigm-shifting Atlantic article "What Joe Biden Can't Bring Himself to Say." Like Biden, John is a person who stutters. In Life on Delay, and with profound intelligence and insight, John examines his own stuttering life, as well as the lives of many other stutterers, to probe the many contradictions of disfluency. John has become something of a torchbearer in our community, and this book is going to be an essential contribution to the (currently very limited) literature of stuttering. I hate when people call certain books "important"—but this book is very important me, and will be important to a lot of people. We've been waiting a long time for a book like this. —SMS The Call of the Tribe by Mario Vargas Llosa, translated by John King When I began my undergraduate studies, I was disappointed by how little nonfiction appeared on the syllabi of my Spanish literature classes. Then I encountered Llosa, a Nobel-winning nonfictioneer and intellectual heavyweight (and occasional novelist) who rose to prominence during the Latin American Boom. In The Call of the Tribe, he maps out the minds that shaped his own: Sartre and Adam Smith, Friedrich A. Hayek and Isaiah Berlin, and many more (mostly male) writers and thinkers. It's a pleasure—and a pleasurable challenge—to read Llosa on the roots of his ideology. —SMS The Once and Future Sex: Going Medieval on Women's Roles in Society by Eleanor Janega Ever since I visited the Cloisters for the first time earlier this year, I've been hungry to learn more about medieval life, and specifically women's place in it. Enter The Once and Future Sex, the subtitle of which quite directly addresses this yen of mine. Janega, a medievalist by training, makes middle-age sociology accessible, highlighting how archaic notions of femininity continue to shape modern womanhood in ways both subtle and overt. Beauty, sex, work, labor, motherhood, decorum—no aspect of women's lives goes unexplored in this rigorous study, which also highlights many of the era's subversive trailblazers. —SMS Black and Female by Tsitsi Dangarembga Zimbabwean writer Dangarembga explores the long shadow cast by imperialism in her own life, and the lives of all African people, in this volume of essays. The personal and political commingle (because, as all feminists know, they're one and the same) as Dangarembga excavates her own history and the history of her nation. The result is a clear-eyed look at what navigating life and art-making as a woman in Zimbabwe has taught her, as well as the possibilities and limits of a distinctly Black feminism, which she calls "the status quo’s worst nightmare." —SMS A Guest at the Feast by Colm Tóibín One of Ireland's greatest living novelists, Tóibín is known the world over for his fiction. That's why I'm so curious to read his new essay collection, to see how he transfers his mastery across genres. A (supposedly) great compliment is to be called a nonfiction writer with a "novelist's" sensibility—the implication being that nonfiction is best when it reads like fiction. (I disagree!) This isn't Tóibín's first foray into nonfiction (he's written books on Elizabeth Bishop; contemporary queer artists; and the fathers of famous Irish writers)—but it is one of his most intimate. This is clear from the book's outset, which features one of best opening lines I've read in a minute: "It all started with my balls." —SMS Vintage Contemporaries by Dan Kois I always love reading Dan Kois's criticism (if you haven't yet read him on Tár, please do yourself the favor—and prepare to have your mind blown) so I was thrilled to hear about his forthcoming novel, a coming-of-age set in New York City at the turn of the millennium that wrestles with art, friendship, and what it means to cultivate a creative life. Our very own Lydia Kiesling blurbed it and gave it what is in my book one of the ultimate compliments: "poignant without being treacly." A near-impossible literary feat—I can't wait to see (read?) Kois pull it off for myself. —SMS Your Driver Is Waiting by Priya Guns A retelling of the movie Taxi Driver featuring a ride-share driver? An incredible premise for a novel that explores work, class, and solidarity (or the lack thereof). Damani Krishanthan works for an Uber-like company, scraping by after her father dies during his shift at a fast-food restaurant. During a summer of uprising, she drives through throngs of protestors trying to make enough to cover rent. A relationship with a white wealthy protestor goes south, prompting a dramatic ending (considering its cinematic source material, I can only imagine). —Lydia Kiesling The Guest Lecture by Martin Riker Abby, a young economist, can't sleep the night before the talk she is scheduled to present tomorrow, optimism and John Maynard Keynes. A lapsed optimist struggling to support her family, she feels grossly unprepared to offer any insights into Keynes. With wry humor and true wisdom, Riker, co-founder and publisher of Dorothy, a Publishing Project, transforms one woman’s insomnia into an enchanting and playful exploration of literature, performance, and the life of the mind. —JQ After Sappho by Selby Wynn Schwartz At the turn of the twentieth century, three queer women—Rina Faccio, Romaine Brooks, and Virginia Woolf among them—make the same decision: They take up their pens or paintbrushes to define their lives and their identities on their own terms. Taking cues from the Greek poet, After Sappho, Schwartz's Booker-longlisted debut novel, reimagines the intertwined voices of those pioneering women artists in the collective first-person, whose courage and struggles never cease to inspire and encourage those who come after. —JQ Hanging Out by Sheila Liming We’ve all heard the admonitions to slow down, drop out, resist the rush—but what does that actually look like? “Hanging out is about daring to do nothing much and, even more than that, about daring to do it in the company of others,” writes Liming in her treatise on the subject, the follow-up to her 2020 book What a Library Means to a Woman on Edith Wharton and book collections. Hanging Out, an endearing and revealing book, is well-timed, but as she notes, “we were having a hard time hanging out well before COVID-19 came along.” She makes a compelling case for us to get together. —Nick Ripatrazone Call and Response: Stories by Gothataone Moeng This debut story collection joins a chorus of literary voices rising out of contemporary Africa. Set in the author’s native village of Serowe, as well as in Gabarone, the thrumming capital of Botswana, these stories are spun from the struggles of women seeking to reconcile ancestral expectations with imported dreams—a girl who hides her sexual exploits from her family while her older brother flaunts his conquests; a young widow who ponders the custom of wearing mourning clothes for a year; a woman who returns from America, ashamed to have given up on the land of opportunity. The great Namwalli Serpell praised the collection for its "sharply observed vignettes," which together amount to a "beautiful" book full of "deep insight." —BM Black Empire by George S. Schuyler Originally published in serial form in the 1930s, Black Empire is the masterwork of George S. Schuyler, a journalist, Harlem Renaissance man, socialist-turned-arch-conservative, and creator of acid satires. This novel is the story of Dr. Henry Belsidus, a Black genius who sets out to cultivate a global network that will reclaim Africa from imperial powers and punish Europe and America for their crimes against the world’s Black population. Schuyler’s earlier novel, Black No More, is a satirical romp about a Black man who turns his skin white. In all his work, Schuyler work confronts an abiding and urgent moral quandary: How far should one go to bring justice to an unjust world? —BM February Where I'm Coming From by Barbara Brandon-Croft Drawn & Quarterly has never let me down, and its winning streak won’t be snapped by this collection from the first Black woman to have a nationally-syndicated comic strip. In the witty and groundbreaking "Where I’m Coming From," which ran from 1989 to 2005, nine Black girlfriends deliver insights and punchlines in equal measure, touching on politics, race, relationships, and everything in between. Tayari Jones says that Brandon-Croft’s work has “aged beautifully,” hailing the collection as “both ahead of its time and right on time.” —Evan Allgood Brutes by Dizz Tate This surreal and ambitious debut novel, written partially in first-person plural and billed as “The Virgin Suicides meets The Florida Project,” follows a clan of teenaged girls in Falls Landing, Florida, as they grapple with the disappearance of the local preacher's daughter. Brutes’s adolescent cast, time-jumping narrative, and promise of violence evoke the hit show Yellowjackets. Mariana Enríquez calls it “a beautiful and deeply strange novel, full of dread and longing.” —EA City of Blows by Tim Blake Nelson I love movies, but Hollywood—both the city and the industry that undergirds it—has never much interested me. Honestly, celebrity culture in America baffles me. But when a Hollywood insider and an accomplished playwright—and, not to mention, a fine actor—decides to satirize the toxic culture of Tinsel Town, I’m in. Nelson's debut novel follows four men fighting for control of a script and a place in a rapidly transforming Hollywood. There’s something sustaining in a story that shows how beautiful people can be just as petty—just as ugly—as the rest of us. —Il’ja Rákoš Couplets by Maggie Millner Lovers of horny, rhyming poetry rejoice: Millner’s “love story in poems,” arrives a week before Valentine’s Day, just in time to tie your brain to its bedposts. Kink and queerness, power and polyamory—this debut by the senior editor of the Yale Review has it all. Read an excerpt in BOMB to see why Elif Batuman, Garth Greenwell, and Leslie Jamison are all head over heels for this clever, seductive story of coming out and coming of age. —EA The Black Guy Dies First by Robin R. Means Coleman and Mark H. Harris This collaboration between Coleman, a scholar, and Harris, a journalist and film critic, explores the history of Black horror films since 1968. Named for the well-known cinematic trope, the book spans cult classics like Spider Baby up to commercial and critical successes like Get Out. According to Kirkus Reviews, the book is written with “keen observation, a satirical eye, and a genuine love for the subject.” —Edan Lepucki Big Swiss by Jen Beagin "A sex therapist's transcriptionist falls in love with a client while listening to her sessions"—that was all I needed to hear to get excited about Beagin's third novel. Throw in blurbs from Melissa Border and A Touch of Jen author Beth Morgan, and I was all but convinced that Big Swiss will be weird and horny and unfettered in all the best ways. "Pick it up because you like cheese," Morgan urges, "stay for the brilliant sentences." —SMS Culture: The Story of Us, From Cave Art to K-Pop by Martin Puchner So many books these days are described as being "sweeping histories"; Culture, which promises in its subtitle to take us from our most primitive artistic impulses all the way to the machinery of modern-day fandom. But what intrigues me most about Puchner's latest isn't its scope—it's its driving question: "What good are the arts?" In my more hopeless moments, this question bubbles up inside me, and I'm chomping at the bit to hear Puchner's answer, grounded in history and informed by cultures around the world. —SMS Dyscalculia by Camonghne Felix Following her poetry collection Build Yourself a Boat, which landed a spot on the National Book Award longlist, Camonghne Felix makes her nonfiction debut with this memoir, which charts a life-changing breakup and its many consequences for her life. When the author ends up in the hospital, she draws a parallel between her troubles as an adult and her childhood diagnosis of dyscalculia, a condition which makes it difficult to learn math or estimate place value. As she starts to tally her romantic miscalculations, she asks a wide-ranging question: who gets the right to freely express their own pain? —TB All the Beauty in the World: The Metropolitan Museum of Art and Me by Patrick Bringley A former New Yorker staffer turned museum guard is a pretty compelling tagline, to be certain, and Bringley delivers in this intimate and philosophical debut memoir—he muses on the artworks, coworkers, and museumgoers that surround him. Adding poignancy to the memoir's conceit, his observations are all permeated with profound grief as he reels from the death of his older brother. Bringly brings the Met to life on a grand scale and granular level. —NR The Wife of Willesden by Zadie Smith For her first foray into playwriting, novelist and essayist Smith reimagines Chaucer’s Canterbury Tale about the Wife of Bath for twenty-first century, northwest London. Alvita, a Jamaican-born British woman in her early fifties, tells her life story to strangers in a pub. In its review, The Guardian calls it “a celebration of community and local legends, of telling a good story and living a life worth telling. Not bad for an original text that’s 600 years old.” —EL Palo Alto: A History of California, Capitalism, and the World by Malcolm Harris I went to college in the Bay Area, where the allure of Silicon Valley was palpable. My classmates posted about their internships at Twitter and Microsoft, wore t-shirts with emblazoned with the logos of Google and Linkedin, and went on to get jobs with six-figure starting salaries. I remembered my dad's quaint stories of growing up in nearby Los Altos and struggled to reconcile that history with the present. Harris's comprehensive history of Silicon Valley, from railroad capitalism to free love to big tech, does just that. Palo Alto spans centuries in order to thoroughly demystifying the region's economics and unearth its enduring legacy of settler colonialism. Users by Colin Winnette I worked for years as a consultant at American-based IT companies with teams in Kyiv, and among those Ukrainians I knew who were handling the code, it was rare to find anyone who worshipped Steve Jobs, loved tech, or saw STEM work as anything particularly noble. No true believers in panaceas or "essential" tech. Here, in the fictional world of Winnette’s latest novel, we encounter a strong critique and timely caution that my Kyiv ITshnyks certainly understood well: the devastation that awaits when we entrust the mechanisms we’ve built to do our thinking, our feeling, and our living for us. —IR I Have Some Questions for You by Rebecca Makkai In her follow-up to her 2018 novel The Great Believers, a Pulitzer and National Book Award finalist, Makkai brings us to a New Hampshire boarding school. Film professor Bodie Kane has been eager to forget her four awful years there, which included a murder of a classmate by the athletic trainer. But when she's brought back to campus to teach a two-week course, everything she thought she knew about the case is thrown into question. Makkai plays with true-crime tropes to deliver a literary exploration of friendship. —Marie Myung-Ok Lee Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears by Michael Schulman Michael Shulman is one of the great profile-writers of our time, and one of our best writers, period. (His New Yorker profiles of Jeremy Strong, Bo Burnahm, and Adam Driver long ago took up permanent residence in my brain.) What Schulman, a student of personality, could accomplish in a study of the Oscars—that most official of personality contests—is limitless. It's also just a perfect opportunity to spill so much celebrity gossip. I imagine devouring this book poolside, while sipping on a blue drink; a big umbrella overhead, a little umbrella in my glass. Slime by Susanne Wedlich, translated by Ayca Turkoglu Primordial slime has long been considered a cornerstone of life on Earth; without it, the natural world would be unrecognizable. Slimy substances like mucous and slobber are also common features of fictional monsters in popular culture from Lovecraft to Alien. Munich-based science and nature journalist Susanne Wedlich’s ode to the semi-liquids that hold our world together—and our minds in awe—reminds us “we are sticky beings living in a sticky place” (TLS), whether we like it or not. —JW March Monstrilio by Gerardo Sámano Córdova What lengths would you go to get back someone you've loved and lost? Just for a bit, to look in their eyes one more time, or tell them what needed to be told? But play that possibility out to its inevitable conclusion and it’s difficult to envision anything good coming from it. In Córdova’s horror debut, a grieving mother in Mexico City goes to unimaginable extremes to bring her late 11-year-old son back to life, only to discover that there are worse things than death. Grief, she learns, is not something to be trifled with, or worse, avoided. —IR Francisco by Alison Mills Newman Though it garnered plaudits from Toni Morrison when it was first published in 1974, Newman's autobiographical novel has long been out of print. Now, a reissue by New Directions—with a new foreword by Saidiya Hartman—promises to introduce a new generation of readers to Newman’s innovative and genre-bending story, which draws on the author’s experience as a young actress in 1960s Hollywood. —TB The Fifth Wound by Aurora Mattia In her new novel, the Mattia reinvents the roman à clef with a magical realist memoir that puts the dusty genre of autofiction to shame. Sifting from multiple narratives—and dimensions—The Fifth Wound is a romance, a meditation on transphobic violence, and a speculative tale of time travel, ecstatic visionaries, and mystical union. Transcending the limiting confines of not just society, but reality as well, and Mattia’s novel promises the reader an experience that recalibrates simplistic notions of truth and fiction, reality and illusion. —ES Saving Time by Jenny Odell I love books that force me to recognize or reconsider the structure of existence—and Odell’s book does just this, in a way that's both enlightening and generative. Her previous book, How to Do Nothing, was a runaway hit about what happens when we subvert the temporal expectations that are placed upon us: “Letting go of one overwhelming rhythm, you invite the presence of others. Perhaps more important, you remember that the arrangement is yours to make.” Odell demonstrates how it's never too late to save the time we have left. —NR The Best of Everything by Rona Jaffe In 1958, at the age of 27, Rona Jaffe published her first novel, a revolutionary portrait of three young women employed at a New York publishing house. Renowned for its frankness and honesty, particularly in its depictions of sexual harassment, The Best of Everything is, per Michele Moses, “what you would get if you took Sex and the City and set it inside Mad Men’s universe.” Now, for its 65th anniversary, Penguin Classics is reissuing the novel, complete with a new introduction by New Yorker staff writer Rachel Syme, who is the perfect voice to prime us for a retro romp through postwar New York and its attendant glitzy patina. —TB Raving by McKenzie Wark Wark's entry into Duke University Press's Practices series, which spotlights the activities that make us human, invites us into the underground queer and trans rave scene of New York City. A bombastic collision of sound and movement, raving is, to Wark, the ideal activity for "this era of diminishing futures." An avid raver herself, she blends academic analysis with her own first-hand accounts, all relayed with sensual, staccato prose. "Some come to serve looks; some come to leave their sweat on the dance floor," she writes. "I’m the latter kind. I want to be animate and animated on the floor." —SMS Still Life with Bones by Alexa Hagerty From 1960 to 1996, more than 200,000 Guatemalans were killed, and tens of thousands more disappeared, after an American-backed coup gave rise to a steady march of genocidal dictators. Decades later, anthropologists like Alexa Hagerty are working to exhume and examine the dead, piecing together their bodies and their stories in an urgent but potentially quixotic quest for resolution, and attempting to bring a sense of humanity to the forensic sciences. —EA How to Think Like a Woman by Regan Penaluna In her first book, journalist Penaluna, who has a PhD in philosophy, explores the oft-forgotten and under-taught feminist philosophers of the seventeenth and eighteenth centuries: Mary Astell, Damaris Masham, Mary Wollstonecraft, and Catherine Cockburn. Blending biography, criticism, and memoir, Penaluna explores the lives and beliefs of these thinkers, as well as the ways women—past and present—have been devalued within philosophy, academia, and history. How to Think Like a Woman serves as an alternate philosophical canon, where women and their intellect are deeply and rigorously examined. —Carolyn Quimby Y/N by Esther Yi “Y/N,” short for “[Your/Name],” refers to a type of fanfiction that allows readers to insert their own names into brackets in the story, so as to imagine themselves in romantic scenarios with popular idols. In Esther Yi’s debut novel, our narrator devotes herself to writing fanfic about a K-pop star named Moon. When Moon suddenly retires and retreats from the spotlight, the narrator embarks on a transnational search that unveils the absurd innards of a Korean entertainment company, as well as the loneliness of modern life and the various fantasies we enact to try to escape it. Yi, a Leipzig-based writer, has earned comparisons to Elif Batuman, Thomas Pynchon, Yoko Tawada, and Marie NDiaye. —JW How Not to Kill Yourself: A Portrait of a Suicidal Mind by Clancy Martin Clancy Martin has tried to die by suicide more than 10 times. In How Not to Kill Yourself, he speaks frankly about these attempts and the thoughts that fueled them. In probing his own experiences, he inevitably comes to larger conclusions about the nature of the self-destructive mind and the philosophy of suicide. He also turns to other writers who have attempted suicide and written about it, from Yiyun Li to David Foster Wallace. Written with surprising tenderness and humor, this memoir-cum-critical-inquiry is a perspective-shifting study. Biography of X by Catherine Lacy With a title that recalls both Alex Haley’s biography of Malcolm X and Gertrude Stein’s consideration of her partner Alice B. Toklas, Lacey audaciously explores the contingencies of identity, memory, and history in her latest experimental novel. Lacey’s novel takes place in an alternative history where the American South separated from the United States and was governed as a fascist theocracy only recently being reabsorbed into the wider nation. Ostensibly The Biography of X is about the titular unknown, a celebrated but mysterious artist, and her widow’s account of that life as much as can be assembled. But with cameos by such twentieth-century luminaries as Sontag and Bowie, the novel is also a biography of American art and theory which understands that sometimes history is best understood at a slant. —ES The Last Catastrophe by Allegra Hyde This collection of 15 stories by the author of Eleutheria continues Hyde’s interest in humanity grappling with climate change. Alexandra Kleeman writes that these speculative stories are “dazzling, inventive, and glinting with dark humor.” Spaceships, AI, zombies, and body-switching abound. I, for one, am most excited to read the story about the girl growing a unicorn horn! —EL The New Earth by Jess Row A century which began with 9/11, and has so far seen economic collapse, a ground war in Europe, a global pandemic, and the rise of neo-fascism is painfully interesting. Jess Row’s latest novel interlays these interesting times on a family drama among the privileged Wilcoxes of the Upper East Side, from 2000 to 2018. The global perspective becomes synonymous with the vantage point of daughter Winter Wilcox, who on the eve of her wedding must grapple not just with her estranged family, but the ways in which her personal tragedies from years coincide with both parental secrets and historical injustices. “Disguising your origins is a deeply American impulse,” Row wrote in 2014, “but that doesn’t make it any less compromising,” a theme heartily interrogated in The New Earth. —ES Chlorine by Jade Song Song's debut novel revolves around high-schooler Ren Yu, a competitive swimmer who spends her days in the pool. Her immigrant parents expect her to train hard and secure a college scholarship, but she aspires to transform into a mermaid, freeing herself from the terrestrial world. A spiky, sapphic coming-of-age that embraces fantasy and horror to explore girlhood and its discontents. —JQ In Search of a Beautiful Freedom by Farah Jasmine Griffin A new volume of collected essays both new and previously published by Farah Jasmine Griffin, the William B. Ransford Professor of English and Comparative Literature and African American Studies at Columbia. Following her last book Read Until You Understand: The Profound Wisdom of Black Life and Literature, these new and previously unpublished essays range in topic from Covid to the efforts to ban Toni Morrison to the life work of Odetta. Griffin's insights into Black music, feminism, and literature are unparalleled. —LK Affinities by Brian Dillon When I read Dillon's previous books, Essayism and Suppose a Sentence, I considered them a diptych: two close looks at two literary forms (the essay and the sentence) that were driven by what Dillon himself calls his own "affinity." It turns out, Essayism and Suppose a Sentence were really the first two entries in a triptych! His latest book, Affinities, centers on images, from photographs to paintings to migraine auras. Why do images make us feel the way they do? Why are we drawn to certain images over other ones? Dillon is one of my favorite writers, thinkers, and close-readers, and I can't wait to read him on the pleasures of looking. —SMS Above Ground by Clint Smith I long for a literature—especially a poetry—of joy; life is too short and bland without it. Smith’s new poetry collection teems with images of love and fatherhood. Great poetry comes in many modes and subjects, but there’s something unique about a book of verse that makes me want to hold my own children a little tighter, as I think of his description of delivering a bear hug: “my arms are still / open like a universe / in need of a planet / to make it worth / something.” Juxtaposed with lines of grief and recognition—“men attempting / to unlearn the anger on their father’s / tongues, the heat in their hands”—Smith’s songs of joy are that much sweeter. —NR Ada's Room by Sharon Dodua Otoo, translated by Jon Cho-Polizzi Otoo's debut novel is about four women, all with the same name: Ada, a mother in fifteenth-century West Africa; Ada Lovelace, the real-life programmer in Victorian England; Ada, a prisoner in a concentration camp in 1945; and Ada, a young Ghanian woman in present day. As Otoo connects their narratives across centuries, the linear confines of history break down and a profound sorority comes into focus. R.O. Kwon calls this one "thrillingly, astonishingly original." —SMS April This Is Not Miami by Fernanda Melchor, translated by Sophie Hughes Taking place in and around the Mexican city of Veracruz, this collection of crónicas—narrative nonfiction pieces that blend reportage with novelistic structures—explores the criminal underworld, shedding light on social problems that manifest in gory headlines. As in her novels Paradais and Hurricane Season, Melchor draws empathetic portraits of deeply unsympathetic figures, forcing her readers to understand the mindsets of monstrous characters. —TB Chain Gang All-Stars by Nana Kwame Adjei-Brenyah Ever since the moment I finished Adjei-Brenyah’s surreal, satirical, and original debut story collection, Friday Black, I’ve been not-so-patiently waiting for whatever he wrote next. In his upcoming debut novel, two female gladiators fight to the death for their freedom on the hugely popular and controversial TV show, Chain-Gang All Stars, which airs on CAPE (Criminal Action Penal Entertainment). With his sharp eye for satire and reverence for humanity, Adjei-Brenyah’s latest explores the exploitation, violence, and false promises of the prison industrial complex, capitalism, and the country itself. —CQ Work-Life Balance by Aisha Franz, translated by Nicholas Houde This graphic novel, which was originally a comic series published by Colorama, concerns three friends who, disillusioned with their work lives, seek help from the same therapist. Franz, who lives in Berlin, was nominated for a Los Angeles Times book prize for her previous book, Shit is Real, which the Guardian called “a wise and funny journey through loneliness and confusion.” Her latest sounds just as promising. —EL Ordinary Notes by Christina Sharpe The latest book by scholar of English literature and Black Studies Christina Sharpe takes the form of a series of 248 notes on history, art, literature, and life whose meanings accumulate over the course of nearly 400 pages. At the center of the resulting polyphonic portrait of Black existence is the figure of Ida Wright Sharpe, the author’s mother. Saidiya Hartman calls Ordinary Notes "an exquisite text" that "demands everything of the reader and, in turn, offers us a vocabulary for living.” —JW A Living Remedy by Nicole Chung Chung's bestselling memoir All You Can Ever Know, published in 2018, cemented her as one of this generation's great chroniclers of family, both adoptive and biological: its limits and possibilities, what it means, how it shapes us. Her follow-up, which follows Chung as she mourns her parents and navigates the institutional inequities baked into American society, promises to be just as poignant. Blurbers Megha Majumdar, Julie Otsuka, Imani Perry, and Bryan Washington certainly think so. —SMS Second Star: And Other Reasons for Lingering by Philippe Delerm, translated by Jody Gladding A runaway hit in France, Second Star is a collection of vignettes about life's smallest and simplest moments, from washing your windows to peeling a clementine. With evocative descriptions of taste, touch, and sound, Delerm zeroes in on the sensations and pleasures that, while often overlooked or taken for granted, can make us feel most alive. Linger in the moment, he says, stay a while—be here, now. —SMS Romantic Comedy by Curtis Sittenfeld I first encountered Curtis Sittenfeld in high school, when my dad's then-girlfriend gifted me a copy of Prep. It was smart and sexy and felt like a portal into womanhood, which I was on the precipice of. Sittenfeld knows how to write romantic comedy without ever slipping into the saccharine, the chivalrous, the cliche. (Also, Brandon Taylor is a fan!) So I can't wait for her new rom-com, about a comedy writer whose decision to swear off love is rocked when she falls for a pop star. —SMS Sea Change by Gina Chung Chung's debut centers on thirty-something Ro who feels stalled in her life—heartbroken after a breakup, father missing, mother remote, friends drifting away. She's also stagnating at her job at a mall aquarium, where one of her favorite sea creatures (and last remaining link to her father), an octopus named Dolores, is about to be sold to a wealthy investor intent on moving her to a private collection. Joseph Han called Ro one of his favorite Korean American characters of all time. —MML The One by Julia Argy Argy’s debut novel, about a woman who’s a contestant on a Bachelor-style dating reality show, has garnered some killer blurbs. Julie Buntin writes, “I could not stop reading Julia Argy’s smart, funny, and tender debut novel about falling in love and finding oneself on and offscreen,” and Claire Messud calls it “riveting, astute and darkly comic.” —EL Without Children by Peggy O'Donnell Heffington As a mother of three myself, I’m interested in why people become parents—or don’t. In Without Children, Heffington, a historian of gender, explores the long history of women who did not become mothers, for a variety of reasons. Situating what seems to some to be a modern phenomenon within a larger historical context, this one seems like an essential read. Ada Calhoun deems it a “timely, refreshingly open-hearted study.” —EL The Double Life of Benson Yu by Kevin Chong I hear the word “metafiction” and I usually figure I’m in for a cerebral workout and probably a headache. While Chong’s story of a graphic novelist focusing on his art in an attempt to process his difficult youth is indeed a workout, it’s also a hugely engaging, headache-free read about a world, Chinatown, and a creative outlet, graphic arts, that I know nothing about. Yes, there is a lot of darkness in this story, episodes that could present challenges to some readers, but ultimately the heft of this novel lies in its powerful reminder that unless we confront our demons, we’ll never exorcise them. —IR Arrangements in Blue by Amy Key An essay collection about unpartnered life set to the soundtrack of Joni Mitchell's Blue—so thoughtful of Amy Key to write a book specifically and exclusively for me! Looking back at her past romantic longings and collisions, Key considers the (inflated?) value of romantic love and finds her contradictory feelings on the matter reflected in Mitchell's lyrics. There's nothing poor-me about Arrangements in Blue; in Key's hands, solitary life becomes more capacious—and more complicated—than I ever thought possible. —SMS The Ugly History of Beautiful Things by Katy Kelleher In this deeply researched collection of essays, Paris Review contributor Katy Kelleher explores the hidden histories of our favorite luxury goods, revealing how even the most beautiful objects have dark, unsavory backgrounds. In a blend of historical, scientific and autobiographical writing, Kelleher explains why some red lipstick contains beetle shells, why certain perfumes include rodent musk, and why a fancy class of dishware is made with the ashes of cow bones. Along with helping us understand how these objects came to signify beauty, Kelleher reveals the price workers pay to bring them to us – and suggests a few ways we can ethically appreciate their products. —TB May Written on Water by Eileen Chang It is no exaggeration to say Eileen Chang has shaped our perceptions of modern cities in China. Before her, big cities were monstrous, with myriads of people often seen as sordid sinners. Chang portrayed Shanghai and Hong Kong as the intersections of tradition and modernity, of the East and the West. The pleasures of modernity embody new ways of life. The subtleties of everyday life signify people’s pursuit of happiness. Chang is sharp, rebellious, and unique. You will find even her examination of Shanghainese food eerily resonating. —JQ Homebodies by Tembe Denton-Hurst When Mickey Hayward loses her coveted media job, she pens a scathing letter about the racism and sexism she's encountered in the industry. It's met with silence and soon forgotten, until a media scandal catapults the letter—and Mickey—back into the spotlight. This witty take on fame, media, and the institutions that rule our lives, Homebodies already garnered blurbs from Danielle Evans, Honorée Fanonne Jeffers, and Bryan Washington. —SMS Quietly Hostile by Samantha Irby If you’ve read Irby’s previous collections, or even skimmed her Instagram, you’re likely waiting for her next book of hilarious essays. This one sounds promising: it has a skunk on the front and covers everything from working in Hollywood, to getting a “deranged pandemic dog” (per the jacket copy), to being turned away from a restaurant for being dressed inappropriately. I can’t wait! —EL Dances by Nicole Cuffy At the age of 22, Cece Cordell is catapulted to fame when she becomes the first Black principal dancer in the history of the storied New York City Ballet. But her achievement doesn’t feel right, and she she soon embarks on a journey to find a missing older brother— and the pieces of herself that have been devoured by the voracious machinery of the highly competitive ballet world. This debut novel by the author of a decorated work of short fiction, 2018's Atlas of the Body, is an examination of the physical and spiritual costs all artists must pay in the pursuit of their art. —BM Monsters by Claire Dederer How to separate the art from the artist? A question I—and most cultural critics—have been wrestling with for a long time now. In Monsters, Claire Dederer takes a stab. Inspired by her Paris Review essay, "What Do We Do with the Art of Monstrous Men?," Dederer takes on Hemingway and Picasso, Miles Davis and Roman Polanski, to construct a deeply personal theory of art, genius, and cruelty, written from the perspective of both a critic and a fan. I've been counting down the days to this one for a while. —SMS Dykette by Jenny Fran Davis In her blurb for Davis's debut novel, the writer Samantha Hunt tells me everything I needed to know: "Like a tightly rolled spliff passed around the room," she writes, "you will inhale Dykette." Following three queer couples on a 10-day country getaway, Dykette takes on desire, debauchery, and destruction through a distinctly queer—and propulsively entertaining—lens. —SMS Avidly Reads Screen Time by Phillip Maciak Phillip Maciak is one of the best TV critics alive right now, full stop. Whether he's writing about Girls or Station Eleven or Bluey, his criticism is always characterized by wit, insight, and a remarkable propensity for close-reading. So yes, I was over the moon to learn about his new book of cultural criticism and history, Avidly Reads Screen Time, about how we define screens and how they define us. There are three Mad Men screen caps within the book's first 30 pages, so, yeah, it's gonna be ridiculously good. —SMS Thinning Blood by Leah Myers Leah Myers is likely the last official member of the Jamestown S'Klallam Tribe as a consequence of blood quantum laws. In a work of memoir and family excavation of her ancestors lives' in the Pacific Northwest, Myers explores the meaning of legacy, documentation, belonging, and weaves between and together her own life, the lives of her ancestors, and the hypotheticals of future generations. —LK King: A Life by Jonathan Eig Martin Luther King Jr. has, at this point, been flattened into an icon. The Selma to Montgomery march, "I Have a Dream," his assassination—this is what his life has been boiled down for many of us, and in the American imagination as a whole. King the leader, the orator, the pastor, the martyr—what about King the man? Eig's forthcoming tome on King, the first full biography in decades, contains new research and shines a fresh light on King's life, relationships, and interiority. —SMS A Life of One's Own: Nine Women Writers Begin Again by Joanna Biggs I've recently realized that I will read just about any book of nonfiction that has the word "women" in the title. A Life of One's Own is no exception, though the draw certainly does not end at its title. Biggs's latest combine memoir, criticism, and biography (my favorite literary concoction) to study how women writers across the centuries—Plath, Woolf, Morrison, et al.— have carved out freedom for themselves in their lives and work. (I suspect this one will be a great companion to the aforementioned How to Think Like a Woman.) —SMS The Late Americans by Brandon Taylor Everyone’s favorite Booker Prize shortlister, national bestseller, Story Prize winner, Henry James prefacer, litcrit-newsletter purveyor, tweet-sender, and sweater-enjoyer Brandon Taylor, returns in May 2023 with The Late Americans. Like his acclaimed 2020 novel Real Life, The Late Americans is set in a small midwestern college town; also like Real Life, it is more accurately set in its young characters’ exquisitely sensitive and private psyches. Its three protagonists, and a larger constellation of midwestern eccentrics, artists, and academics, confront and provoke one another in a volatile year of self-discovery leading to a trip to a cabin where they bid goodbye to their former lives—a moment of reckoning that leaves each of them irrevocably altered. —Adam O'Fallon Price The Lost Journals of Sacajewea by Debra Magpie Earling Earling reimagines the well-trodden tale of Sacajewea and her role in the fateful expedition of Lewis and Clark in this historical novel. Endowed agency, authority, and interiority, Earling's Sacajewea rewrites the version of herself handed down through American history. Her life before the expedition comes into vivid focus, as do her complicated feelings about her role in charting the course for American imperialism. Night of the Living Rez author Morgan Talty praises this "transcendental work of literature" as "striking" and "elegant." —SMS On Women by Susan Sontag, edited by David Rieff Susan Sontag, Merve Emre—the collab of the century? I'll read anything by either writer, so I will of course be reading this. Sontag's takes on feminism, sexuality, beauty, fascism, aging, and more are the focus of this seven-essay collection, introduced by Emre and edited by Sontag's son David Rieff. Always drawn to the grey, the murky, the complicated, here Sontag considers the ubiquitous, amorphous forces that shape women's lives with her characteristic curiosity and authority. —SMS Lesbian Love Story by Amelia Possanza In her debut memoir, Brooklynite Possanza dives into the archives to recover the stories of twentieth-century New York lesbians. Sifting through records she finds role models and cautionary tales, juicy gossip and heart-wrenching regret. Writing with empathy, wit, and imagination, Possanza constructs a personal, political, and romantic history of lesbian life and love. —SMS June Where Are Your Boys Tonight?: The Oral History of Emo's Mainstream Explosion 1999-2008 by Chris Payne Emo exploded just as I gained consciousness as a human being with aesthetic tastes. For me, and many of my peers, emo music was a formative force in our lives, enunciating the frustration and darkness that many of us found ourselves newly harboring as adolescents. So I can't wait to read Chris Payne's oral history of the genre, which uses interviews with My Chemical Romance, Paramore, Panic! at the Disco, Fall Out Boy, and more to reconstruct emo's meteoric ascent and profound cultural footprint. —SMS Wannabe: Reckoning with the Pop Culture That Shapes Me by Aisha Harris Harris, host of NPR's Pop Culture Happy Hour, always has a take. Movies, TV, music—she's got an opinion and she's excited to tell you about it. Adapting her radio presence into book form, Wannabe sees Harris turning her talents for critique and criticism inward, looking at the media that has shaped her life and examining its effects. From Clueless to the Spice Girls, New Girl to Chance the Rapper, Harris teases out the connections between her identity and her love of pop culture with wit and elan. —SMS Rivermouth: A Chronicle of Language, Faith, and Migration by Alejandra Oliva Oliva is a writer, translator and immigration activist who has translated for people seeking asylum along the US-Mexico border since 2016. In this work of memoir and journalism, which won a 2022 Whiting Nonfiction Award, Oliva describes her experiences of translation, describes her own Mexican-American family's relationship to the border, and interrogates notions of citizenship and belonging. —LK I Am Homeless If This Is Not My Home by Lorrie Moore Moore's first novel since 2009's A Gate at the Stairs, I Am Homeless If This Is Not My Home (that title!) is a ghost story set in the nineteenth and twenty-first centuries about grief, devotion, and narrative. I'll be honest, I have no idea what this book is actually going to be about (the descriptive copy sums up the plot thusly: "A teacher visiting his dying brother in the Bronx. A mysterious journal from the nineteenth century stolen from a boarding house. A therapy clown and an assassin, both presumed dead, but perhaps not dead at all . . .") but the intrigue makes it all the more anticipated. —SMS Directions to Myself: A Memoir of Four Years by Heidi Julavits My first introduction to Julavits was 2015's The Folded Clock, which I read the week after I first moved to New York, back in 2020. I've been waiting for her next book ever since. It's finally here—Directions to Myself sees Julavits studying what she calls "the end times of childhood." She writes about her son's upbringing as well as her own to find answers about motherhood, family life, and growing up. George Saunders calls it "an absolute stunner." I predict I'll feel the same. —SMS [millions_email]
Messing with People’s Expectations: The Millions Interviews Mark Binelli
Mark Binelli and I met for the first time on Oct. 27, 2012, in New York City. The excuse for the meeting was the TV broadcast of Game 3 of that year’s World Series between the San Francisco Giants and the Detroit Tigers. I grew up in Detroit and its suburbs and have remained a life-long fan of the Tigers, so the sports editor at The New York Times thought it might be amusing to have me hook up with fellow Detroiters and write a string of sketches about the agonies and ecstasies of watching the Series. With a nod to Frederick Exley, they called the sketches “A Fan’s Notes.” Mark Binelli also grew up in the Detroit area, and he agreed to join me for Game 3 at a dive called the Motor City Bar, about halfway between our apartments in lower Manhattan. As soon as we were settled on our barstools, Binelli delighted me by confessing that he didn’t have much use for Detroit’s twinned obsessions, cars and sports. So with one eye on the TV screen -- a Detroit loss, one of four straight in an ignominious sweep -- Binelli and I spent the game talking mostly about books. We talked about his first novel, Sacco and Vanzetti Must Die!, a wicked recasting of the two doomed anarchists as a slapstick comedy act; we also talked about Binelli’s forthcoming non-fiction book, Detroit City Is the Place to Be, which turned out to be a marvel, a clear-eyed look at our hometown’s history, its racial divide, and the many forces that brought it low. Since that night in 2012, Binelli, a contributing editor Rolling Stone and Men’s Journal, has published a stack of superb journalism -- about Pope Francis, supermax prisons, George Clinton, feral dogs and ruin porn in Detroit, and a U.S. Border Patrol guard who gunned down an unarmed Mexican boy on the far side of the border fence. And now Binelli has published his second novel, Screamin’ Jay Hawkins’ All-Time Greatest Hits, a title of considerable irony since Hawkins’s only hit record, “I Put a Spell on You,” qualified him as the quintessential one-hit wonder, though one with an outlandish stage show and a backstory that Binelli found irresistible. Binelli and I met recently in a park near New York’s Chinatown, where we drank beer and talked about books. The Millions: Screamin’ Jay Hawkins’ All-Time Greatest Hits is one weird little book. Mark Binelli: Thanks very much [laughs]. I take that as a compliment. TM: In spots the book reads like straight journalism, then it’s almost a biography, then there are passages of pure fantasy, a little autobiography -- but somehow it all hangs together. How did you arrive at this strange narrative strategy? MB: I guess what attracted me to Jay [Hawkins] as a subject initially -- I never thought I would write fiction about a musician, I’d been writing about musicians for Rolling Stone for years and that always felt like kind of a separate zone -- and honestly it didn’t interest me that much, fictionalizing Jay’s story. I’d been backstage, I’d been on tour buses, I’d been in recording studios with musicians -- and the idea of creating made-up scenes that I’d already lived through didn’t hold much appeal. The idea to write about Jay basically came from reading the liner notes on his albums. TM: So there was no life-long attraction to Screamin’ Jay Hawkins for you? MB: I loved “I Put a Spell On You” the moment I heard it, which was probably at some point in college. I’m pretty sure my first exposure to it was in the Jim Jarmusch film, Stranger Than Paradise. I immediately thought, this is such a weird fucking song -- it’s funny but it’s also very haunting and evil. It’s hard to make a funny song not cross into a novelty song. It was recorded in 1956, so it’s 50 years old, but to record something that’s that timeless, almost out of time, it’s a tough thing to do. So years after I first heard the song I was reading the liner notes to one of his CD’s, and the way his biography unfolded -- in his telling -- I thought, God, this is the ultimate rock star story/novelistic picaresque. TM: You say “in his telling” because he was always embellishing his life’s story -- claiming that he was adopted and raised by a tribe of Blackfoot Indians, that he studied opera in Cleveland, that he joined the Army at age 14, that he was a middleweight boxing champion in Alaska, that he fathered 75 illegitimate children. Did that attract you as a novelist -- the fact that it was almost a made-up life to begin with? MB: Yeah, that immediately gave me liberties to take him at his word, and then go further than that and make up scenes based on these stories that he told. But back to your original question about how the form came about, it was kind of through that. Once I was attracted to the idea of writing about him as a character, I started thinking about all kinds of different ways I might get at it. At one point I thought it could be kind of cool to write a straight, thoroughly researched biography. TM: But you rejected that idea. MB: I rejected that idea ultimately. I liked the perversity of the idea, because he’s not that sort of iconic musician, like John Lennon or Dylan. We could sit here and make a list of hundreds of musicians and Jay would be very, very far down the list of subjects for a biography or a novel or a rock biopic. For me, that was a big part of the appeal. It was such a weird idea to take this marginal figure who had one hit song and who made up all this shit about his life story -- and then elevate him into the pantheon of rock gods. TM: Did you start doing research into a possible biography before the book became a novel? MB: I did a little bit of research, but pretty quickly I decided it was going to be a novel. And then at that point I decided I didn’t really want to know the truth, which is the opposite of what we have to do in our jobs as journalists. It was very freeing and nice not to want to know if he actually fought in World War II. If I know the truth, it might impair my ability to imagine it. TM: So in a sense, the less you knew, the freer you were? MB: Yeah, and I intentionally kind of researched around his stories. I probably could have found his military records and figured that out, but I didn’t want to do that. I did look into whether or not younger kids lied about their age to enlist, and that turns out to be true. I did look into what it was like for an African-American in the Army at that time? -- how segregated was the Army? I wanted to get the details kind of right, or at least have a sense in my head of what it might have been like. TM: Little tiny things, like when Jay goes squirrel hunting as a boy and winds up feeling that killing the squirrel was such a pathetic act -- I’ve got to believe there was some autobiography in that. It was such a vivid little grace note. MB: The funny thing about a lot of the childhood scenes is that some of that is the most autobiographical writing I’ve done. I love the idea of grafting details from my life -- a white Italian-American living in 2016, in his 40s -- grafting that onto the life of a black singer born in Cleveland in the late-1920s. Being able to mix all that stuff together was really appealing to me. TM: You mentioned the Jarmusch movie Stranger Than Paradise. Something I was surprised you didn’t include was Screamin’ Jay’s movie parts. He played a hotel clerk in Jarmusch’s Mystery Train. There’s that great scene in A Rage in Harlem, based on the Chester Himes novel, where Hawkins is performing “I Put a Spell on You” while Forest Whitaker is trying to dance with Robin Givens. Why didn’t you include some of that stuff? MB: That did cross my mind, but in my head the book stops with him in Hawaii, sort of in exile. Pretty early on, I became less interested in what he did after that. The only point in the book that jumps forward in time is that one short scene where all of Jay’s offspring have a family reunion. TM: That actually happened, right? MB: Again, I’m not sure. There really was a website somebody put together after Jay died called "Jay’s Kids," and they put out a call to Jay’s offspring to get together. I don’t know if there really was a meeting. Early on, I thought about doing a chapter where I interviewed a bunch of his kids. Then I had an idea about doing a long chapter from the point of view of one of his kids, going around the country trying to meet his lost siblings. I kind of cycled through lots of alternate scenarios. I have a problem picking one book when I start writing a book, and I think that’s partly where this hybrid style comes from. TM: Have you heard this term “ahistorical fantasia?” MB: Um, no. TM: I’ve seen it used in reference to Sacco and Vanzetti Must Die! -- where there’s a set of historical facts, which the author twists and then adds fantasy on top. Matthew Sharpe’s Jamestown is such a book, and I would certainly think Screamin’ Jay would fit in there. MB: I’ve never heard that term, but I like that kind of book. Based on these first two novels, I guess that’s what I do [laughs]. TM: What is it that you do? MB: Before I wrote Sacco and Vanzetti, I was trying for years, pretty unsuccessfully, to write short stories taken from my life. It never worked. When I hit upon the idea of Sacco and Vanzetti, part of what worked for me was the history element of it -- having something I could research and draw upon. In a way, it connects with my work as a journalist. You go out and talk to people and take notes. You have raw material to work with. With the novels, I liked having raw material to work with -- with Sacco and Vanzetti, it was the history of Italian anarchists and film comedy teams; with Screamin’ Jay, it was his story of the world he was living in. I liked having that stuff and then being able to just fuck with it. TM: So the history is a springboard, a beginning point. It’s not the point. MB: Right. You can play off of it and mess with people’s expectations. I found that works for me. TM: What are some other books that you would consider similar in that approach? E.L. Doctorow’s Ragtime? MB: Maybe Ragtime. I loved the book, but Doctorow is not doing anything totally crazy with history. A novel by Kevin Barry, Beatlebone, is a recent example, where he takes this sliver of a fact from history-- TM: That John Lennon actually owned an island off the west coast of Ireland. MB: -- and then he makes up this great taxi driver/fixer character who takes Lennon around on this lost weekend there. I think all of that’s made up. I don’t know if Lennon even visited the island. That’s something great. I think maybe Pynchon to a degree does a lot of that. It’s funny, the other day I was in a Duane Reade and they were playing an old Chuck Berry tune, one of his big hits. I love Chuck Berry, it was a great song, but I heard it and I thought this really sounds like a song from the '50s. It sounds very dated. And it just made me think how weird “I Put a Spell on You” is -- you don’t really know where it comes from. I think that’s partly why it’s been covered so often and in so many different ways. And then Jay’s theatricality was ahead of his time. TM: He was fucking with political correctness before political correctness existed. Going onstage inside a coffin? With a bone in his nose? Come on! MB: Right, he was dressing like an African witch doctor from a very racist Looney Tunes cartoon from the '40s. He knew what he was doing. He was messing with audience expectations -- white audience expectations. One of his later records was called Black Music for White People, and it seems to me his stage persona, his get-up, his whole shtick was a way of saying to white audiences, “You think you want authenticity from a black performer? How 'bout this?” I kind of love the idea of that. Again, I don’t know what his true intentions were, but I’ve got think some of that was going on in his head. TM: Are you going to write about musicians again, other than in your journalism? You think fictionally you’ll attack other musicians? MB: I don’t have a next project. I have a few rough ideas, but none of them involves music. I stumbled onto Jay’s story and was drawn to it, so it could happen again. You never know.
No Genre Ever Dies: On Loren D. Estleman and the Pulp Tradition
1. Loren D. Estleman is a crazy prolific writer, in a league with Anthony Trollope and Joyce Carol Oates. In his 63 years, Estleman has produced more than 70 books -- novels, collections of short stories, and writing manuals, as well as book reviews and assorted journalism. The words don’t just pour out of Estleman’s typewriters -- he owns dozens of them, including some century-old museum pieces -- no, they roar out, a relentless typhoon of words -- words that are even more remarkable for their consistently high quality than their staggering quantity. In this sense he’s closer to rock-solid Trollope than to hit-or-miss Oates. Newly published is Desperate Detroit: And Stories of Other Dire Places, a collection that will solidify Estleman’s stature with his hardcore fans while serving as an ideal introduction for uninitiated readers. The book is a sumptuous smorgasbord featuring hit men, riffs on John Dillinger and Dr. Jekyll and Mr. Hyde, a homicidal newspaper reporter, a grifter, an insurance scammer, a coffin-maker, a crime-solving bookseller, a truck-driving contract killer, and a cop who gets seduced into murder. Estleman’s universe is not a just or tidy place. Some people get away with murder, repeatedly, while others get framed for murders they didn’t commit. Everyone’s working an angle, and there are double-crosses and surprise twists, humor and ample darkness. There’s even a vampire western! One of the few things missing from this collection is a hard-boiled story featuring Estleman’s irrepressible Detroit P.I., Amos Walker. For 40 years and counting, Estleman’s bread and butter have been the western and the crime story, though his fiction ranges so widely, from the 19th century to today, from prairies to ghettos, that it would be impossible and unfair to peg him as any single kind of genre writer. If anything ties Estleman’s work together, it is the eternal presence of crime in human affairs. “Crime,” as he writes in the new book’s introduction, “is the most durable small business we have.” As I read these stories, I kept flipping to the front of the book, where their original publication venues and dates are printed. I was surprised to notice that, with a few exceptions, they first appeared in one of two places: Ellery Queen’s Mystery Magazine or Alfred Hitchcock’s Mystery Magazine. The first short story Estleman published, “The Tree on Execution Hill,” appeared in the August 1977 issue of Alfred Hitchcock’s Mystery Magazine. “The Used” was his first sale to Ellery Queen’s Mystery Magazine, in the June 1982 issue. These stories, which both appear in Desperate Detroit, were the beginnings of long and fruitful partnerships that endure to this day. So this book was turning out to be more than a sampling of stories by a writer with a vast range, an iron work ethic, and a time-tested ability to please readers. The book is also a window into the way the publishing of short fiction has changed in America since World War II -- a time of brutal contraction both in the audience for short stories and in the venues where they get published. 2. The first issue of Ellery Queen’s Mystery Magazine, featuring stories by Dashiell Hammett and Cornell Woolrich, was published in the fall of 1941, which means the magazine has now reached the venerable age of 75. The first thing you need to know about Ellery Queen is that he didn’t exist. It was the pen name of two cousins, Frederic Dannay and Manfred B. Lee, who developed an unusual division of labor. Dannay edited the magazine until his death in 1982, while the two collaborated, sometimes contentiously, on the short stories and novels that appeared under the byline of Ellery Queen and sold some 100 million books. “We fight like hell,” Dannay said of his collaborating cousin. He added, a bit more loftily, “Our books are as much a canvas of their time as the books of Proust were of his time.” In 1956, a sister publication, Alfred Hitchcock’s Mystery Magazine, began publishing, also edited by Dannay. Its only affiliation with the great filmmaker was the use of his name and image on the cover for branding purposes, sort of like Donald Trump spring water. The magazine was born at what would seem an unpropitious moment -- as the slick magazines (Collier’s, The Saturday Evening Post, Story, Good Housekeeping) were either going out of business or dropping fiction, while the pulps (Black Mask, Two-Fisted Detective, Weird Tales) were succumbing to television, paperback novels, comics, and changing post-war tastes. And yet, both EQMM and AHMM managed to survive the shakeout, and they continue to thrive. Dannay’s likening of Ellery Queen to Proust may be a stretch, but it was revealing. “One of Dannay’s aspirations for EQMM was to demonstrate that the mystery was a ‘genuine literary form,’” the magazine’s current editor, Janet Hutchings, told me in an email. “This led to the publication of work by more than 40 Nobel and Pulitzer Prize winners, including William Faulkner.” Other names to grace the table of contents include Agatha Christie, P.G. Wodehouse, Ed McBain, Isaac Asimov, Ruth Rendell, and Ian Rankin. EQMM was the first magazine to publish Jorge Luis Borges in English. Stephen King, a frequent contributor, calls it “the best mystery magazine in the world, bar none.” Maybe one reason the magazine and its sister continue to thrive is that our age has finally caught up with Dannay’s 75-year-old vision. In 1941, as the Christian Science Monitor put it, the detective story was “frowned upon by the fusty gatekeepers of the literary establishment.” Recently, after years of being segregated by those gatekeepers, writers began to allow “high” and “low” literary genres to cross-pollinate freely and fruitfully. The result was mash-ups, crossbreeds, delirious hybrids. Along with Estleman’s vampire western, we got movies like Cowboys and Aliens. Novelists, including Mark Binelli (Sacco and Vanzetti Must Die!) and Matthew Sharpe (Jamestown), fused seemingly incompatible genres into novels that are called “ashistorical fantasias.” Michael Chabon’s romp about comic book artists, The Amazing Adventures of Kavalier & Clay, won the 2001 Pulitzer Prize. Elmore Leonard -- primarily a writer of crime and western fiction like Loren D. Estleman -- won high praise from such “literary” authors as Walker Percy and Martin Amis. Meanwhile, there have been successful efforts to resuscitate the impulses that once drove pulp fiction, most notably the Hard Case Crime series, which has published more than 100 titles in the past dozen years, including a lost novel by James M. Cain, an original by Stephen King, and, later this year, a lost novel by Erle Stanley Gardner, the creator of Perry Mason. “We’re trying to keep that style of publishing alive,” the series’s co-creator, Charles Ardai, told me. “Short books with a lot of velocity, compelling plots, beautiful cover art -- and not too much ‘literary’ artifice.” Ardai, not surprisingly, is an ardent fan of EQMM and AHMM. (He has worked at the former and contributed stories to both.) He’s also a fan of Loren D. Estleman. “He’s a bit of a genre blender,” Ardai says. “He’s of that pulp tradition where a writer would write westerns and horror and crime. I think he’d be proud of being described as a throwback to an earlier era, when writers wrote prolifically and never failed to entertain. It’s not haute cuisine -- it’s red meat, the stuff you can’t put down until your plate is clean.” 3. When I’d finished reading Desperate Detroit, I called Estleman at his home in Michigan. (Full disclosure to fend off charges of log-rolling: Estleman wrote an enthusiastic review of my first novel in The Washington Post Book World in 1992, I sent him a thank-you note, he responded -- and we’ve been pen pals ever since.) When Estleman came on the line, I asked him about the recent cross-pollination between genres, and between genre and literary fiction. “I’ve made the point for years now that no genre ever dies,” he said. “Mainstream literary writers -- people like Anne Tyler, who I like very much -- are fighting over a smaller and smaller patch of ground. And genre writers are writing with more maturity. What genre writers understand now is that when someone dies, someone is out there to mourn them. Every death has a repercussion. So there’s a maturity that wasn’t always there before. These are novels about social conscience, reflecting what’s going on in our world.” We’re getting back to Proust here. When I asked him about the importance of EQMM and AHMM to writers of short fiction, Estleman said, “They’re great magazines. They support unknown writers and they’ve launched a lot of people. They pay quite well, too, and sometimes the stories get included in anthologies. I’m still getting royalty checks for stories I wrote 30 years ago.” But Estleman doesn’t deny that the shrinking of the market for short fiction has put a pinch on him and every other writer working today. “I would have loved to work during the golden age of pulp magazines,” he said. “There were at least 100 of them, and a writer could just go down the list submitting a story until it sold. Elmer Kelton, the great western writer, once told me that back in the day a writer could become a millionaire at half a cent a word.” It’s something Anthony Trollope understood more than a century ago. And while Loren D. Estleman may not be a millionaire, he’s a writer who has made a solid living by working every day, one word at a time. Writer’s block is not in his vocabulary. Naturally he has a new novel out, a western, featuring one of his most durable characters, U.S. Deputy Page Murdock. It’s called Cape Hell, a title that would have been right at home on the cover of a pulp novel.
“My First Buy”: Book Editors Discuss Their Earliest Acquisitions
“See here, I want you to come to Random House and lose some money for us with literary books,” the press’s president and publisher, Harold Evans, told Daniel Menaker, then fiction editor of The New Yorker, in 1995. “You have five years to fook oop.” In his memoir, My Mistake, Menaker recounts this scene and his subsequent transition from magazine to book publishing. Blessed with this permissive mandate, Menaker naturally chose a book of short stories for his first buy. He ran the project, George Saunders’s CivilWarLand in Bad Decline, by his boss, Ann Godoff, who told him: “Well, do a P-and-L for it and we’ll see.” “What’s a P-and-L?” “Profit-and-loss statement.” “_____” “You don’t know how?” “No. Sorry.” The dialog continues for pages, Godoff guiding Menaker with Socratic patience through the advance, payment schedule, initial print, returns, trim sizes, PPB (plant, printing, and binding), and finally the pricing, before arriving at the beautiful and the good formula for putting out a debut collection. “That ought to do it. Isn’t this scientific?” (Menaker can afford to lead with his book publishing greenness here, knowing full well that Saunders, whom he edited at The New Yorker, has since entered the American short story writer’s pantheon.) Reading Menaker’s anecdote, I wondered about the first professional decisions of newly minted editors — be they powerful tastemakers blissfully ignorant of P-and-L statements or recently promoted assistants. What drew them to the first proposal they tried to acquire? Did they look upon the decision as a momentous one? Do they even remember it now? I asked six editors to share a story about their first buy, encouraging them to reflect on the projects themselves and what they were thinking at the time: their vision of where their list should go and the risk, fear, excitement or challenges involved. Here are their stories. Scott Moyers, Vice President and Publisher of The Penguin Press I spoke by phone with Moyers, who recalls the sense of initiative behind his first acquisition: “I felt like I was reaching out into the world and creating something.” He had been an assistant at Doubleday for four years before making a “huge leap” to Associate Editor at Scribner. Going after projects was difficult because as a new editor, he “didn’t know many agents and didn’t expect to get a first crack at many projects.” Sometime during this period, he read a “stunning piece of longform journalism” in the Wall Street Journal by Thomas E. Ricks about a Marine platoon’s boot camp on Parris Island, South Carolina. Moyers jokingly described how he went on to pester Ricks and his agent for the book rights to a longer, “almost anthropological study” about Marine culture, its indoctrination methods, and the occasional tensions with the values society the soldiers were tasked to defend. The pestering paid off, as he secured the floor in the auction, an anonymous baseline bid with the right to come back and beat any higher offers. There was another offer, which Moyers topped to secure Ricks’s Making the Corps, a success he says helped to “cement [his] status as an editor.” Moyers would go on to edit more books by Ricks, sell his books when he became a literary agent, and acquire his books yet again when he returned to editing. Over the years since that first buy and the “almost existential fear” of being a young editor — one might compare it to a kind of tweedy boot camp — Moyers says he gradually learned what can and cannot be controlled in publishing. Reflecting back on the period when he was trying to make a career, he wryly notes that “nobody necessarily cares about your success except you and your parents,” and that Ricks’s decision to go with a young editor was an “act of generosity and faith” that he has not forgotten: “We grow more protective as we grow conscious of whom we owe.” Kathy Pories, Senior Editor, Algonquin Books Moving from the rigorous standards of nonfiction reporting to tales that couldn’t be any taller, Kathy Pories describes in an email how she reeled in quite the catch with her first acquisition: The first book I acquired as an editor was a book by a local writer. His agent was in New York, and the book was out with other editors. It had an experimental feel to it, a structure unlike most books I'd read so far...fable-like. It felt like the kind of novel that people would either "get," or they wouldn't, so it felt a little risky for it to be the first book I bought. Still, my Editorial Director, Shannon Ravenel, was firmly in agreement — there was something so exciting and original and moving about this father-son story — and so she gave me the go-ahead to make an offer. That book was Big Fish by Daniel Wallace. I remember that I was so green that Shannon kept passing me post-its with messages about what I should say to the agent (which in retrospect, I'm sure he could detect in my halting delivery as I engaged in my first negotiation. I wish I had a recording of that conversation now.) And we had no idea how big that book would become, or that within weeks, film rights would be optioned — or that it would actually become a movie. Anyway, it was an auspicious start. Seventeen years later, I still think you have to have that feeling that something is risky; those are the books that are the most exciting to publish. But I'm a little better on the phone these days. Timothy Bent, Executive Editor (Trade), Oxford University Press Timothy Bent remembers acquiring a vital, memorial work that has stayed with him over the course of a long career in commercial and academic trade publishing: When I was at Arcade about twenty years ago I urged Dick Seaver, the publisher, to sign up a book whose manuscript he had given me, a newly hired assistant editor, to read. It was a essentially a “grief” book: a father’s biography of a daughter born with birth defects and who lived only a short time — barely over five months. It was a really painful story — operations, hope, more operations, loss. This was before I was a father myself and therefore before I could really understand all the dimensions of the grief, but the writing was so limpid, the thoughts and expression so unsentimental, the vision of this child so clear — what character and personality in a months-old child! — that I wanted badly to work on the book. I championed it, Dick acquired it for me, and I edited it. The author is William Loizeaux, and the book is called Anna: A Daughter’s Life. It taught me to understand that every life, however foreshortened and unfulfilled, was worthy of a book, just as are those of Great Lives and Large Deeds; Anna inhabits one of those unvisited graves (as the narrator at the end of Middlemarch has it), whose lives we would never know or appreciate were it not for the written accounts by those who love and remember them. Her life counted. I gave myself to that book and became very close to the author and his family; when it was reviewed in the New York Times by Reeve Lindbergh, appreciatively, I remember feeling a sense of accomplishment that has never been matched since, though I’ve now acquired and edited many hundreds of titles, many on those whose remains inhabit highly visited tombs. How does a biography of Anna Loizeaux stand up to one of Bismarck? In my mind, it just does: that’s what a writer can do. Alex Star, Senior Editor, Farrar Straus Giroux Alex Star’s first buy involved an essayist, Meghan Daum, who made her reputation partly on the strength of a comic, rueful, and rodent-populated essay about the perils of being an editorial assistant: “For the editorial assistant, every day is a new near-death experience. As if ‘going toward the light,’ we chase after what literature there is, trying, at least in the beginning, to discover the genius in the slush pile who’s going to elevate us from entry-level minion to up-and-comer with a brilliant eye.” Star writes: The first book I acquired, in the spring of 2012, was a collection of essays by Meghan Daum. This was doubly gratifying, since her first collection of essays, My Misspent Youth, was an important book for me back when I was trying earnestly to mis-spend my own youth, and because a new essay Daum had written, about a parent’s death, struck me as her best work yet. Daum’s new collection will appear this fall, and it covers mortality, children, animals, music, and growing older — an entire course on human nature, inside two covers. Jenna Johnson, Senior Editor, Houghton Mifflin Harcourt Jenna Johnson, who has been acquiring books for eleven years now, began with one about eight dramatic seconds. As she suspects is often the case with young editors, Johnson benefited from the “kindness of a senior colleague” for her first buy. During our phone call, she explained that inundated editors will sometimes encourage up-and-comers to pursue projects, which, however intriguing, they themselves might not have time to take on. Thus was a book on rodeo culture passed along to Johnson by an editor for whom she had been reading manuscripts. Johnson’s history background and “demonstrated love for the American West” made her the perfect person to take the reins of W.K. Stratton’s Chasing the Rodeo, which offered a lively account of the rodeo and its literature, a discussion of the West’s place in the American imagination, and a portrait of the author’s own “rodeo bum” father. Johnson said that the first buy “signals a moment of traction,” a crucial step for a young editor “learning to negotiate the system and find a book that suits the house.” Though a project about rodeos was not an “obvious Harcourt book” at the time, the house had published works by Roger Kahn and Roger Angell, so there were some “points of contact” for a book about sports culture. What came through most vividly in our conversation was the joy of working alongside the author to achieve “the right balance” of reportage, history, and memoir: the challenge in any piece of narrative nonfiction. From this first buy and from many subsequent acquisitions, Johnson has come to see that writers and editors often end up as each other’s “mentors” in steering a project home. Jeremy M. Davies, Senior Editor, Dalkey Archive Press Finally, Jeremy M. Davies writes in about a thwarted first buy, which teaches him that a young editor must hone his taste as well as his strategic instincts to make his way in the publishing world. What follows is a two-part story of discovered manuscripts, intrigue, innocence lost, and a gleeful turn to (fictional) anarchy: I had only been at Dalkey Archive for a couple of weeks. The first book I wanted to see signed on was an unsolicited submission by a translator of a deceased author who, at that point, had never, to my knowledge, been Englished. While I had minor reservations about the book — I wouldn't say I'd put my head on the block for it, as I would have for Édouard Levé, or Lascano Tegui, or Gerald Murnane, to name three more recent Dalkey acquisitions behind which I'm proud to have been lurking — but I was certain it was right for Dalkey, and that the author was someone for whom Dalkey would be applauded for introducing to the Anglophone world. Now, you have to understand that, then as now, it's the Director who makes all final decisions about, well, everything. The process was semi-democratic, in that a book universally praised was far more likely to get the Director's okay. Books to be rejected would either be dismissed out of hand or else assassinated by other, less obvious means. I was nervous about making a strong positive recommendation so soon after arriving at the Press, but, to my surprise and relief, I received a fairly rapid and equally positive reply, and permission to contact the translator with the news that Dalkey did, indeed, want to publish his work. At the next meeting, the book was axed on account of another staff member's claiming that he didn't, after all, "like the ending." I suspected there was more to it than an aesthetic judgment, but what could I do? It was enough to kill the project, and I was instructed to reject the MS, even though it had already been accepted. The translator wasn't too pleased with this apparent duplicity, and I wasn't too thrilled to seem the culprit. But that's showbiz, I guess: it was a good lesson. Another “excellent” press would acquire the book and translate several more by the same author, whose identity Davies will not reveal: “Here’s a hint: it ain’t Bolaño.” In the story’s denouement, our hero, wiser and schooled in the Machiavellian dealings of non-profit publishing, triumphs: The first actual acquisition I handled differently. This was an original English-language MS that (also) came in on the slush pile, a few months later. The submission held my attention as being written by someone in control of his material (not often the case with slush). I was struck by its tone, ambition, and eccentricity, and its very skillful juggling of slapstick silliness with desperate bleakness. It also didn't hurt that it played to my pathological cinephilia. Cutting to the chase, this was Mark Binelli's wonderful Sacco and Vanzetti Must Die, which recasts the titular anarchists as vaudevillians who appear in such films as Ventriloquism and Its Discontents. So, I saw that the book was "the real thing" (such clarity, in those days!), and I likewise saw that Mark was a contributing editor at Rolling Stone. (And if you haven't read his nonfiction, you should: his most recent book is Detroit City Is the Place to Be: The Afterlife of an American Metropolis, and he recently published a great profile of Pope Francis.) Evidence that I wasn't a complete idiot: when I brought the book up, I started with the Rolling Stone connection and only then went on to quality. This put things in the proper context: Sacco and Vanzetti was a project that had a chance at some real publicity, and thus sales, so its high quality as fiction became added momentum in overcoming editorial inertia, rather than the initial meek shove. There were no sneak attacks this time, and the book was published in 2006 to great reviews all over the place. But, you know, like the man said, "Show me a movie with a happy ending, and I'll show you a movie that ended ten minutes too early."
Mark Binelli Explains Why Detroit City Is the Place to Be
1. Two Guys Walk Into a Bar We agreed to meet in a dive called the Motor City Bar, a couple of Detroit guys drawn together by a rare chance to watch our hometown Tigers play in the World Series. The bar is located, oddly enough, on New York City's Lower East Side, 650 miles from Detroit but just a few blocks from where we now live. Beer and baseball were merely an excuse for getting together. The real reason Mark Binelli and I met in the Motor City Bar was to talk about his terrific new book about our hometown, Detroit City Is the Place to Be: The Afterlife of an American Metropolis. The book is a long-overdue and hugely welcome corrective to the one-dimensional narrative of urban decay that has been spewing out of Detroit roughly since 1970, the year Binelli, the son of Italian immigrants, was born. My family had moved away from Detroit a year earlier, after I'd spent the first 17 years of my life there. In other words, Binelli and I are a generation apart and we experienced the two very different sides of the Detroit coin: I was lucky to surf the glory years of Mustangs and Motown and the MC5, while Binelli rode the relentless downward spiral of layoffs, factory shutdowns, declining population and rising crime, and the wholesale transfer of blue-collar jobs to non-union southern states and to worker-unfriendly countries like Mexico and China. "For people of my generation and younger," Binelli, 42, writes, "growing up in the Detroit area meant growing up with a constant reminder of the best having ended a long time ago. We held no other concept of Detroit but as a shell of its former self. Our parents could mourn what it used to be and tell us stories about the wonderful downtown department stores and the heyday of Motown and muscle cars. But for us, those stories existed as pure fable." Despite this divide, it turns out that Binelli and I have much in common. His book grew out of an assignment for Rolling Stone magazine, which sent him home in early 2009 to cover the American International Auto Show and, more broadly, Detroit's teetering auto industry. The omens at the time were dire: Binelli arrived the week of Barack Obama's inauguration, as the world was plunging into a vicious recession; Michigan's unemployment was above 15 percent; the former mayor of Detroit was in jail after resigning over a sex and corruption scandal; and the leaders of Chrysler and General Motors, two of the domestic auto industry's so-called Big Three, had just returned from Washington, where they'd gotten down on their knees and begged for a federal bailout. After finishing the magazine assignment, Binelli decided to stay in town and keep digging. For the next two and half years he lived near the Eastern Market, where, as a teenager, he had made deliveries for his father's knife-sharpening business. (Binelli's only novel, Sacco and Vanzetti Must Die!, stars a pair Italian slapstick comedians who specialize in throwing very sharp knives and very messy pies at one another.) Binelli talked to everyone he met – businessmen who had moved their operations from the suburbs into vacant downtown buildings; creative young people who had recently arrived, eager to take advantage of cheap rents and the city's anything-goes atmosphere; natives who had fled, attended top colleges, then come home to try to make a difference; urban farmers and gardeners; the students and staff at a successful magnet school for pregnant teenagers and young mothers; plus a colorful gallery of firefighters, autoworkers, artists, metal scrappers, vigilantes, entrepreneurs, bloggers, and activists. The deeper he went into the story, the more convinced he became that the negative old narrative had played itself out. In its place was emerging a new sense of purpose and possibility. "It didn't make rational sense, I knew, but I found myself edging over to the side of the optimists," Binelli writes. "I couldn't say why; it happened gradually, on the level of anecdote: I caught myself noticing and relishing slight indicators that in aggregate (or perhaps viewed through lenses with the proper tinting) couldn't help but make you feel Detroit's luck, despite such unimaginable obstacles, might still turn." 2. "The Messiah Is Us." As our first beers arrived and the World Series game began, I told Binelli that I'd had a weirdly parallel experience. In January of this year, just as Binelli was wrapping up the research for his book, I got an assignment to write a series of articles for Popular Mechanics magazine, positing that Detroit's future is actually beginning to look intriguing and surprisingly bright. I hadn't been back to Detroit in more than a decade, so my editor laid out the encouraging signposts for me. There is strong support to build a second bridge linking Detroit and Windsor, Ontario, the busiest international trade crossing in North America, which is now serviced by an ancient bridge owned by a miserly billionaire who pockets all the toll money. There is a growing entrepreneurial class, high-tech businesses are flocking to downtown, and the city's vast open spaces are already being turned into farms and gardens, wild forests and bike paths. My editor, who had visited Detroit numerous times in the past year, promised me that the city is well on its way to becoming an urban environment unlike anything anywhere else in the world. I arrived in time for the 2012 Auto Show, sweating bullets of dread. What would I do if my reporting led me to the conclusion that the rosy story I'd been assigned to write was nothing but a pipe dream? Like Binelli, I knew that Detroit has stubborn, seemingly insurmountable, problems, including high rates of crime, unemployment, and illiteracy, a school system hobbled by years of corrupt and inept management, and a city government so financially strapped that basic services are spotty at best, and sometimes non-existent. For good measure, there are as many as 50,000 stray dogs roaming the streets and empty spaces. To my enormous relief, there was more to see than the well documented blight. I ran into the same energy and determination Binelli had encountered, and before long I, too, found myself edging over to the side of the optimists. It certainly helped that the local auto industry, with a boost from a federal bailout, had not only survived but was suddenly, almost miraculously, turning record profits. But what truly amazed me was that Detroiters shrugged at the news of those profits, and the news that Chrysler was adding a shift and hiring more workers at its humming East Jefferson plant. This was my epiphany. This told me that Detroiters had stopped waiting for salvation from above – a new auto factory, a new government program, a new housing development – because they were too busy saving themselves down at street level. This do-it-yourself ethos was beautifully expressed to me by Jack Kushigian, a native Detroiter who grew up working in his family's machine shop, then went off to San Francisco after college to work as a computer software engineer. Like the members of the reverse diaspora Binelli had encountered, Kushigian came back home to try to make a difference. I met him in the woodworking shop he'd set up in a church basement on the city's hard-hit East Side, where he was teaching neighborhood people how to make furniture out of wood harvested from abandoned buildings, a virtually limitless source of raw materials. "Detroit for years, during its decline, has been hoping for a Messiah," Kushigian told me. "Detroit has finally given up on that. A lot of people in Detroit have a fire burning inside them that I don't see anywhere else. My feeling is that the Messiah is us." 3. America's Mecca After ordering a second round of beers and noting that the Tigers had fallen behind the San Francisco Giants by two runs, I said to Binelli, "I think the thing I hate most about the way people perceive Detroit is ruin porn – you know, all those books full pictures of gorgeous abandoned buildings and open prairie." "Yeah," Binelli said, "people from Detroit get so inured to it. It's like a New Yorker walking past the Empire State Building and not bothering to look up. I used to think ruin porn in Detroit was voyeuristic and creepy. But it's not necessarily invalid because, let's face it, that's the way the city looks." The remark says a lot. While I reject ruin porn out of hand, Binelli has the subtlety to dislike it but admit it has its place in the narrative. "Why not embrace the mystique?" he went on. "Tourists come to see those ruins. They're a legitimate part of the history of American industry. They're like our Acropolis." When Binelli encountered a group of German college student poking through the gutted Packard plant, he asked what had inspired them to vacation in Detroit. One gleefully replied, "I came to see the end of the world!" A more nuanced reading was offered by a Dutch photographer named Corine Vermeulen, who came to Detroit in 2001 to study at nearby Cranbrook Academy of Art, then stayed on to document the opposite of ruin porn: urban beekeepers and farmers, lowrider car nuts, storefront mosques, and the artwork of the late Detroiter Mike Kelley. "I feel like Detroit is the most important city in the U.S., maybe in the world," Vermeulen told Binelli. "It's the birthplace of modernity and the graveyard of modernity.... Detroit in the present moment is a very good vehicle for the imagination." Vermeulen's favorite movie is Andrei Tarkovsky's Stalker, which is set in a very Detroit-esque post-industrial netherworld called "the Zone," a desolate, forbidding place where it's possible for intrepid visitors to have their deepest desires fulfilled. Vermeulen offered to show Binelli one of Detroit's "Zones," and off they went to a 189-acre prairie on the East Side officially known as "the I-94 Industrial Project," a federally designated tax-free "Renaissance zone," where all the buildings got torn down and the only things that got reborn were grass, wildflowers and a single factory. Vermeulen and Binelli climbed a hill to survey this vast savannah. "From up here," he writes, "it was difficult to believe we were minutes from the downtown of a major American city." In a footnote he adds: Corine had never heard of Geoff Dyer, but in his collection Yoga for People Who Can't Be Bothered to Do It, he makes the same connection, sprinkling his account of a trip to the first Detroit Electronic Music Festival with references to Stalker and the Zone. (My footnote to Binelli's footnote: Geoff Dyer has since published an entire book about Stalker called Zona: A Book About a Film About a Journey to a Room, which we wrote about earlier this year.) Binelli's footnotes are among his book's great pleasures. He knows Detroit's history cold, but he also understands its lore, which may be even more vital to his project's success. Here is his footnote on the source of an early Detroit nickname: See, for example, Newsreel LIX, of John Dos Passos's The Big Money: "the stranger first coming to Detroit if he is interested in the busy, economic side of modern life will find a marvelous industrial beehive...DETROIT THE CITY WHERE LIFE IS WORTH LIVING." To commemorate the roll-out of Ford's Model A in 1927, the modernist photographer and painter Charles Sheeler was hired to photograph Ford's mammoth River Rouge complex. After noting that Sheeler shot the plant the way an 18th-century painter might have depicted the interior of a cathedral, Binelli added this footnote: The most famous shot in Sheeler's series, Criss-Crossed Conveyors, invokes neither grit nor noise but instead an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular conveyor belts forming the shape of what is unmistakably a giant cross. The photograph was originally published in a 1928 issue of Vanity Fair, where the caption read: "In a landscape where size, quantity and speed are the cardinal virtues, it is natural that the largest factory, turning out the most cars in the least time, should come to have the quality of America's Mecca." That word tabernacular is absolutely perfect. After explaining that Edsel Ford paid Diego Rivera $20,000 to paint the famous Detroit Industry murals in the Detroit Institute of Arts, Binelli notes that Rivera's wife, Frida Kahlo, managed to get in a dig on Edsel's father, cranky old, anti-Semitic Henry. Here's the footnote: At a dinner party, Kahlo mischievously asked Ford if he was Jewish. 4. Eminem and Clint The Tigers, meanwhile, were stringing together so many zeroes that the scoreboard was starting to look like a rosary. Naturally I started seeking a scapegoat and decided I wanted the head of the Tigers' hitting coach on a platter. That's another difference between Binelli and me. He doesn't look for scapegoats. Instead, he rejects the conventional reasons for Detroit's decline: greedy labor unions, the 1967 riot (or "uprising," as many black Detroiters still call it), the white flight it supposedly inspired, and the first black mayor it supposedly helped elect, fiery, divisive, foul-mouthed Coleman Young. As Young put it in his memoir, he was able to take over the city administration in 1974 because "the white people don't want the damn thing anymore." If Binelli sees a scapegoat, it's the provincial Midwestern burghers who ran the American auto industry into the ground, cloistered in their enclaves in Grosse Pointe and Bloomfield Hills, oblivious to foreign competition, playing golf while Detroit burned – "the preposterously overpaid executives, with their maddening, sclerotic passivity in the face of their industry's demise." To his credit, Binelli points out that Detroit's decline was a long time in the making, and racial tension was not something that arrived in the 1960s. Since its founding in 1701, the city has always been a racial and ethnic stew, spicy and violent. There was a nasty race riot in 1863, another in 1943 that left 34 Detroiters dead. The city's population peaked in 1952 at about 2 million and has been falling ever since, sometimes gradually, sometimes precipitously. Today it's around 700,000, or about one-third of what it was at its peak, and it's 85 percent black. So the 1967 riot didn't scare off the white people, it merely accelerated an established trend. The auto industry and "urban planners" finished the job, with their ever-bigger cars, their ever-bigger highways, and their zoning laws and red-lining that encouraged suburban sprawl while keeping black people safely sequestered below 8 Mile Road. Oh, and let's not forget the Big Three's willingness to "outsource" jobs, final proof that corporations are not people, they're machines driven by the profit motive and very little else. Certainly not by loyalty to local workers when it's possible to pay somebody in Alabama or Mexico far less to do the same job. The Motor City once had mass transit – until automotive interests realized that people who ride trolleys don't drive cars or ride buses. While covering that Auto Show in 2009, Binelli took a ride on what passes for mass transit in Detroit today – "the People Mover, an elevated tram that runs through downtown Detroit in a three-mile, one-way loop. The city used to have an extensive trolley system, but it was purchased by National City Lines, a front company formed by GM, Firestone, Standard Oil and other automobile interests, after which the trolley tracks were ripped up and replaced with buses. The People Mover began running in 1987 and seems, in its utter uselessness, as if it might have been built by another secret auto industry cabal, as a way of mocking the very idea of public transportation." Such observations show that Binelli, like all accomplished journalists, is equally skeptical of breathless hype and received wisdom, and he can also be very funny. As the TV camera panned across the packed stands in Comerica Park in downtown Detroit, which opened in 2000, Binelli and I had to admit that though we miss long-gone Tiger Stadium we've both developed a grudging admiration for the new park. But his book makes clear that Binelli doesn't buy into the facile media fantasy that sports are an accurate barometer and metaphor for a city's fortunes, such as this serving of horseshit from a CNN columnist: "History has shown that when the city's sports teams start doing well, it's a sign of healing in Detroit." When I mentioned that line from the book, Binelli laughed and said, "It'd be nice if it was true. But it's not." And he rightly lumps Comerica Park and neighboring Ford Field, home of the NFL's Lions, with the dozens of shiny new stadiums littering the land, calling them "state-subsidized giveaways to corporations in exchange for their willingness to locate in the city." Yet there's no denying that cars and sports are still central to the lives of most Detroiters. Nowhere was the convergence – and the narrative power – of these passions more revealing than in the recent Chrysler ads starring Eminem and Clint Eastwood. "It's funny how much people loved those Super Bowl ads," Binelli said. "I think it's because Americans want Detroit to succeed. It's like we need the idea of our worst place coming back. If Detroit can turn it around, then Stockton can too, and Las Vegas, and all those cities in Florida that got hammered by the recession. Now outsiders want to cheer Detroit on." What those Chrysler ads were pitching, he wrote, "had far less to do with cars than an elemental, nearly lost sense of American optimism." My elemental American optimism got snuffed for the night when I watched the final Tiger batter strike out swinging, a fitting exclamation point to a limp 2-0 loss. A loss the next night would complete a dispiriting four-game sweep by the Giants. But as Mark Binelli and I finished one last round and said our goodnights, I wasn't thinking about baseball. I was remembering his remark in the book that he'd been drawn back to Detroit by the chance to influence the story of the century. "It might very well turn out to be the story of the last century, the death rattle of the twentieth-century definition of the American Dream," he wrote. "But there could also be another story emerging, the story of the first great post-industrial city of our new century. Who knows?" Nobody knows – yet. But based on what I've seen with my own eyes and what Mark Binelli and other perceptive observers have written, my money's on the second horse. The longshot. The spavined one that's coming from the back of the pack, coming on strong, and showing signs that she just might emerge as the world's first great post-industrial city. Image credit: Daily Invention/Flickr
The Best Fiction of the Millennium (So Far): An Introduction
Ah, 1999... We laughed along with Chandler and Phoebe, invested our surplus Benjamins with Lehman Brothers, danced a national macarena. Those days seem like the distant past now, and in many ways, the first decade of the 21st Century has been quite different from the giddy future we might have projected. In one way, though, the new millennium has delivered: we've gotten great fiction, often from unexpected quarters. When The New York Times named "The Best Work of American Fiction of the Last 25 Years" in 2006, none of the finalists was younger than 69, and the most recent publication date was 1997. But the '00s have introduced us to new voices, spurred others to new levels of achievement, and ushered in the late masterworks that have capped distinguished careers. It's a bit early, of course, to pass definitive judgment on the literary legacy of the '00s, or how it stacks up against that of the 1930s, or 1850s. Who knows what will be read 50 years from now? But, with the end of the decade just a few months away, it seemed to us at The Millions a good time to pause and take stock, to call your attention to books worthy of it, and perhaps to begin a conversation. To that end, we've conducted a poll of our regular contributors and 48 of our favorite writers, editors, and critics (listed below), asking a single question: "What are the best books of fiction of the millennium, so far?" The results were robust, diverse, and surprising. We've finished tabulating them, and this week, we'll be counting down the Top 20 vote-getters, at a rate of five per day. Each book will be introduced by one of the panelists who voted for it. On Friday, we'll reveal Number One, along with the results of a parallel reader poll conducted via our Facebook group. And next week, we'll run follow-up posts including Honorable Mention and "Best of the Rest" lists. This page, updated as we post the list, will become an index. You can use it to navigate the series, or can check back at our home page; we also invite you to consider subscribing to The Millions via RSS feed or Kindle. We hope you'll share your thoughts here or on the entries for the individual books throughout the week as our list is revealed. The List #20: Gilead by Marilynne Robinson #19: American Genius, A Comedy by Lynne Tillman #18: Stranger Things Happen by Kelly Link #17: The Fortress of Solitude by Jonathan Lethem #16: Middlesex by Jeffrey Eugenides #15: Varieties of Disturbance by Lydia Davis #14: Atonement by Ian McEwan #13: Mortals by Norman Rush #12: Twilight of the Superheroes by Deborah Eisenberg #11: The Brief, Wondrous Life of Oscar Wao by Junot Díaz #10: Never Let Me Go by Kazuo Ishiguro #9: Hateship, Friendship, Courtship, Loveship, Marriage by Alice Munro #8: Out Stealing Horses by Per Petterson #7: Austerlitz by W.G. Sebald #6: The Road by Cormac McCarthy #5: Pastoralia by George Saunders #4: 2666 by Roberto Bolaño #3: Cloud Atlas by David Mitchell #2: The Known World by Edward P. Jones #1: The Corrections by Jonathan Franzen The Panel Sam Anderson is the book critic for New York Magazine. Rosecrans Baldwin is the author of the forthcoming You Lost Me There and a founding editor of The Morning News. Elif Batuman is the author of the forthcoming The Possessed: Adventures With Russian Books and the People Who Read Them Mark Binelli is the author of Sacco and Vanzetti Must Die and is a contributor to Rolling Stone. Elise Blackwell is the author of Hunger and other books Patrick Brown is a contributor to The Millions. Sonya Chung is the author of Long for This World and is a contributor to The Millions. Elizabeth Crane is the author of You Must Be This Happy to Enter and other works of fiction. Ben Dolnick is the author of Zoology. Ben Ehrenreich is the author of The Suitors. Stephen Elliot is the author of The Adderall Diaries and other books and is founding editor of The Rumpus. Scott Esposito is the founding editor of Conversational Reading and The Quarterly Conversation. Joshua Ferris is the author of Then We Came to the End and the forthcoming The Unnamed. Rivka Galchen is the author of Atmospheric Disturbances. Lauren Groff is the author of Delicate Edible Birds and The Monsters of Templeton. Garth Risk Hallberg is the author of A Field Guide to the North American Family and is a contributor to The Millions. John Haskell is the author of Out of My Skin and American Purgatorio. Jeff Hobbs is the author of The Tourists. Michelle Huneven is the author of Blame and other novels. Samantha Hunt is the author of The Invention of Everything Else and The Seas. Sara Ivry is a senior editor of Tablet. Bret Anthony Johston is the author of Corpus Christi: Stories and is director of the Creative Writing Program at Harvard University. Porochista Khakpour is the author of Sons and Other Flammable Objects. Lydia Kiesling is a contributor to The Millions. Benjamin Kunkel is the author of Indecision and is a founding editor of N+1. Paul La Farge is the author of Haussmann, or The Distinction. Reif Larsen is the author of The Selected Works of T.S. Spivet. Dorothea Lasky is the author of Awe and other books. Edan Lepucki is a contributor to The Millions. Yiyun Li is the author of The Vagrants Margot Livesey is the author of The House on Fortune Street and other books. Fiona Maazel is the author of Last Last Chance. C. Max Magee is the founding editor of The Millions. Sarah Manguso is the author of the memoir The Two Kinds of Decay and other books. Laura Miller is the author of The Magician's Book and is the book critic at Salon. Meghan O'Rourke is the author of Halflife: Poems and is a founding editor of DoubleX. Ed Park is the author of Personal Days and is a founding editor of The Believer. Emre Peker is a contributor emeritus to The Millions. Arthur Phillips is the author of The Song is You and three other novels. Nathaniel Rich is the author of The Mayor's Tongue and is a senior editor at The Paris Review. Marco Roth is a founding editor of N+1. Andrew Saikali is a contributor to The Millions. Mark Sarvas is the author of Harry, Revised and is the proprietor of The Elegant Variation. Matthew Sharpe is the author of Jamestown and other works of fiction. Gary Shteyngart is the author of Absurdistan and The Russian Debutante's Handbook. Joan Silber is the author of The Size of the World. Martha Southgate is the author of Third Girl From the Left and other books. Lorin Stein is a senior editor at Farrar, Straus and Giroux. Felicia Sullivan is the author of The Sky Isn't Visible from Here and is the founding editor of Small Spiral Notebook. Jean Thompson is the author of Do Not Deny Me and other books. David Ulin is book editor of the Los Angeles Times Amanda Eyre Ward is the author of Love Stories in This Town and other books. Dan Wickett is executive director and publisher of Dzanc Books. John Williams is founding editor of The Second Pass Anne K. Yoder is a contributor to The Millions. Todd Zuniga is the founding editor of Opium Magazine Methodology Each panelist could name up to five books available in English with an original-language publication date no earlier than Jan. 1, 2000. We then tabulated the votes of our panelists, along with those of our contributors. Books were ranked according to number of votes received. In the few cases where more than one book received the same number of votes, our contributors, believing firmly that ties are like "kissing your sister," voted to break them. Best of the Millennium, Pros Versus Readers
Staff Picks: Morrison, Marcom, Lethem, Frankfurt, Binelli, Seidel
The "staff picks" shelf in any good independent bookstore is a treasure trove of book recommendations. Unmoored from media hype and even timeliness, these books are championed by trusted fellow readers. With many former (and current) booksellers in our ranks, we offer our own "Staff Picks" in a feature appearing irregularly.A Mercy by Toni Morrison recommended by EdanNow, Toni Morrison doesn't need my staff pick (I'm sure it pales in comparison to her Nobel Prize in Literature), but I thought it appropriate since she's a contender for this year's Tournament of Books. Also, one time I tried to hand-sell A Mercy at the bookstore where I work, and the customer said, "Oh I hated her other book, you know, that Caged Bird Singing one?" So, let me set the record straight: Toni Morrison is not Maya Angelou. Got that? Also, I must say this: Toni Morrison has written an incredible and mesmerizing new novel. The prose in A Mercy blew me away, it was so strange and beautiful. From start to finish this book's language put a charge through me - I actually felt the prose in my body, as a tingling in my wrists and up my arms. The language itself transported me to this historical era (the 1680s), and my mind had to shift to accommodate the language, and thus, this particular, brutal, past.The Mirror in the Well by Micheline Aharonian Marcom recommended by AnneLike a wanton lover, Micheline Aharonian Marcom's Mirror in the Well leads you sensuously and breathlessly into the throes of an affair between "she," the unnamed adulteress, and "you," the beloved. Lust yields to ecstasy that seesaws into despair as the married mother of two's web of trysts, lies, and longing grows larger. The blazing physicality of Marcom's language is like a feminine countersignature to Henry Miller's Tropic of Cancer; the trapped wife's ennui and awakening shares its soul with Louis Malle's The Lovers.The Wall of the Sky, The Wall of the Eye by Jonathan Lethem recommended by AndrewJonathan Lethem pushes the unsuspecting reader into one troubling, convoluted short story after another, then, when he's good and ready, spits the reader out into the real world, leaving him twitching and scratching his head, barely able to catch his breath before luring him back into his alternate universe where futuristic horror butts heads with mystery and suspense.The genres aren't new to him - his novels Amnesia Moon and Motherless Brooklyn ventured into futuristic sci-fi and mystery, albeit taking routes into these genres that I hadn't taken before - but it's a different experience to get these flights of fancy and fear in seven short bursts. I was exhausted and sometimes unsettled after each, but I couldn't wait to get back into Jonathan Lethem's crazy world.On Bullshit by Harry G. Frankfurt recommended by EmilyA rare treat awaits those who missed On Bullshit when it came out in 2005. Professor Harry Frankfurt's unassuming little volume (four by six inches and a mere 67 pages long - somewhat physically reminiscent of the original binding of Maurice Sendak's Chicken Soup With Rice) is not only, to use its own words, a "crisp and perspicuous" account of what bullshit is, but also a lesson in clean, graceful prose and logical, orderly thought.And what is bullshit, you ask? Quoting a bit of Longfellow that Ludwig Wittgenstein considered a personal motto:In the elder days of artBuilders wrought with greatest careEach minute and unseen part,For the Gods are everywhere.Frankfurt explains the mentality that these lines express: "The point of these lines is clear. In the old days, craftsmen did not cut corners. They worked carefully, and they took care with every aspect of their work. Every part of the product was considered, and each was designed and made to be exactly as it should be. These craftsmen did not relax their thoughtful self-discipline even with respect to features of their work that would ordinarily not be visible. Although no one would notice if those features were not quite right, the craftsmen would be bothered by their consciences. So nothing was swept under the rug. Or, one might perhaps also say, there was no bullshit." And so beings an excellent explanation of the carelessly made and shoddy product we know as bullshit.For its clarity, gentle humor, conversational tone, and intelligence, On Bullshit is a delight. So charming is Frankfurt's book, that even those traumatized by encounters with philosophy's mind-wrecking titans (Hegel or Kant, say), might find themselves taken in.Sacco and Vanzetti Must Die by Mark Binelli recommended by MaxI'm not sure I have much fortitude for the mini-genre that has been termed "ahistorical fantasia" (coined by Matthew Sharpe author of Jamestown, perhaps the most widely recognized example of the form), but I do know that Sacco and Vanzetti Must Die, is undoubtedly ahistorical fantasia and undoubtedly a thoroughly entertaining book. Here's the ahistoria: Mark Binelli reimagines Sacco and Vanzetti not as suspected anarchist bombers but as a slapstick comedy duo from the golden age of cinema. And here's the fantasia: the pie and seltzer plot of Binelli's pair slowly melds with the death-row fate of their real-life counterparts. The book is incredibly inventive and manages a rare feat: It is both challenging and laugh-out-loud funny, sometimes simultaneously.Ooga-Booga by Frederick Seidel recommended by GarthGertrude Stein aside, Frederick Seidel's Ooga-Booga is the most excitingly strange book of poems I have ever read. In this case, the oddity lies not in the syntax, but in the author's peculiar persona, at once cool and fevered. The collision of the "debonair" voice, the hallucinatory imagery, and a prosody keenly (even innocently) interested in rhyme and wordplay shouldn't work, but it does: "And the old excellence one used to know / Of the chased-down fox bleeding its stink across the snow." Consumed steadily over the course of a couple of weeks, Ooga-Booga reveals itself as a cohesive, almost novelistic statement about death, sex, wealth, motorcycles, and geopolitics. (And doesn't that about sum it up?) I'm torn between the trenchant short poems and the long, visionary ones, like "Barbados" and "The Bush Administration." Against the latter, one might say that elegy gets done to death these days. But when has it ever been so savage, or so full of joy?
A Year in Reading: Mark Binelli
Mark Binelli is the author of Sacco and Vanzetti Must Die! and a contributing editor at Rolling Stone. He lives in New York and is currently working on a second novel.I didn't read so many new books this year, but three I loved were Horacio Castellanos Moya's Senselessness (probably my favorite final sentence of the year), Joseph O'Neill's Netherland (expected to hate it but all of the effusive praise totally deserved) and Liao Yiwu's The Corpse Walker (deranged, Terkel-esque Q&A's with the bottom rungs of Chinese society.)New (to me), and highly recommendable: Geoff Dyer's self-described "method biography" of D.H. Lawrence, Out of Sheer Rage, which I loved despite having never read any Lawrence aside from a couple of short stories; James Merrill's Divine Comedies, specifically the long poem "The Book of Ephraim," which JM claimed to have written with the use of a ouija board (!); Lydia Davis' great first collection, Break It Down; and William Gass' Omensetter's Luck, a perfect novel, and the best thing I've read in a very long time.More from A Year in Reading 2008
A Year in Reading 2008
The distractions of a good book have been in high demand this year. A quiet corner and a transporting story offered a reprieve from relentless campaign news not to mention cheap entertainment for the many feeling a sudden impulse for thriftiness. 2008 was a loud year, and this final month seems likely to be only more deafening. The annual shopping frenzy has already ramped up, this year with overtones of desperation and the macabre.Yet in the spirit of the season (though in defiance of the prevailing mood), we offer a month of gifts - collected with the help of many generous friends - to our readers. There will be plenty of lists in the coming days assigning 2008's best books (and movies and music and everything else you can think of), but it is our opinion that these lists are woefully incompatible with the habits of most readers. As it does with many things in our culture, what we call "the tyranny of the new" holds particularly strong sway over these lists. With books, however, it is different. We are as likely to be moved by a book written 200 years ago as we are by one written two months ago, and a list of the "Best Books of 2008" feels fairly meaningless when you walk down the aisles of your favorite bookstore or library.Being a reader is about having millions of choices, and a lucky reader has trusted fellow readers as her guides. With this in mind, we've asked a number of our favorite readers (and writers and thinkers) to be your guides for the month of December, with each contributor sharing with us the best book(s) they read in 2008, regardless of publication date. And so we present to you our 2008 Year in Reading, a non-denominational advent calendar of reading recommendations to take you through to the end of 2008.We're doing it a little differently this year. The names 2008 Year in Reading contributors will be unveiled one at a time throughout the month as we post their contributions. You can bookmark this post to follow the series from here, you can just load up the main page for more new Year in Reading posts appearing at the top every day, or you can subscribe to our RSS feed and follow along in your favorite feed reader.Stephen Dodson author of Uglier Than a Monkey's Armpit, proprietor of LanguagehatNam Le author of The BoatBenjamin Kunkel founding editor of N+1 and author of IndecisionRosecrans Baldwin founding editor of The Morning News and author of You Lost Me ThereHamilton Leithauser lead singer of The WalkmenMark Binelli author of Sacco and Vanzetti Must Die!Dan Kois founding editor of VultureAmanda Petrusich author of It Still MovesJoseph O'Neill author of NetherlandRex Sorgatz of Fimoculous.com.Elizabeth McCracken author of An Exact Replica of a Figment of My ImaginationJoan Silber author of Ideas of Heaven and The Size of the WorldAnder Monson author of Other ElectricitiesDon Lee author of Wrack and RuinTraver Kauffman of Black GarterbeltBuzz Poole author of Madonna of the ToastEdan Lepucki of The MillionsJim Shepard author of Like You'd Understand, AnywayPeter Straub author of seventeen novelsRachel Fershleiser co-editor of Not Quite What I Was PlanningCharles Bock author of Beautiful ChildrenEdward Champion of The Bat Segundo Show and edrants.comHelen Dewitt author of The Last SamuraiManil Suri author of The Age of ShivaCharles D'Ambrosio author of The Dead Fish MuseumChristopher Sorrentino author of TranceWells Tower author of Everything Ravaged, Everything BurnedLawrence Hill author of Someone Knows My NameJohn Wray author of LowboyEd Park founding editor of The Believer and author of Personal DaysSarah Manguso author of The Two Kinds of DecayKrin Gabbard author of Hotter Than ThatJosh Henkin author of MatrimonyJosh Bazell author of Beat the ReaperBrian Evenson by The Open CurtainCarolyn Kellogg of Jacket Copy and www.carolynkellogg.comHesh Kestin author of Based on a True StoryScott Esposito editor of The Quarterly Conversation and proprietor of Conversational ReadingGarth Risk Hallberg author of A Field Guide to the North American Family: An Illustrated Novella, contributor to The MillionsSana Krasikov author of One More YearSeth Lerer author of Children's Literature: A Reader's HistoryLorraine López author of The Gifted Gabaldon SistersAnne Landsman author of The Rowing Lesson and The Devil's ChimneyMark Sarvas author of Harry, Revised and proprietor of The Elegant VariationBrad Gooch author of City PoetKyle Minor author of In the Devil's TerritoryChristine Schutt author of Florida and All SoulsTodd Zuniga founding editor of Opium MagazineDavid Heatley author of My Brain is Hanging Upside DownV.V. Ganeshananthan author of Love MarriageFrances de Pontes Peebles author of The SeamstressLaura Miller cofounder of Salon.com author of The Magician's Book: A Skeptic's Adventures in NarniaDustin Long author of IcelanderMaria Semple author of This One is MineRob Gifford of NPR, author of China RoadJohn Dufresne author of Requiem, MassMatthew Rohrer author of Rise UpMickey Hess author of Big Wheel at the Cracker FactoryGregory Rodriguez author of Mongrels, Bastards, Orphans and VagabondsDavid Ebershoff author of The 19th WifeTim W. Brown author of Walking ManPablo De Santis author of The Paris EnigmaHugo Hamilton author of DisguiseJoshua Furst author of The Sabotage CafeKevin Hartnett of The MillionsRoland Kelts author of JapanamericaNikil Saval assistant editor at n+1The Year in Reading RecapBonus Links: A Year in Reading 2007, 2006, 2005
A Year in Reading: Garth Risk Hallberg
Garth Risk Hallberg is the author of A Field Guide to the North American Family: An Illustrated Novella, and is a contributor to The Millions....And what a year it was: the manic highs, the crushing lows and no creamy middle to hold them together. In this way, my reading life and my other life seemed to mirror each other in 2007, as I suppose they do every year. As a reader, I try not to pick up a book unless there's a good chance I'm going to like it, but as an aspiring critic, I felt obliged to slog through a number of bad novels. And so my reading list for 2007 lacked balance. It's easy to draw a line between the wheat and the chaff, but harder to say which of the two dozen or so books I loved were my favorites, so grateful was I for their mere existence.If pressed, I would have to say that my absolute greatest reading experience of the year was Howard's End by E.M. Forster. Zadie Smith inspired me to read this book, and I can't believe I waited this long. Forster's style seems to me the perfect expression of democratic freedom. It allows "the passion" and "the prose" equal representation on the page, and seeks the common ground between them. Forster's ironies, in writing about the Schlegel family, are of the warmest variety. I wish I could write like him.A close runner-up was Roberto Bolano's The Savage Detectives. It's been years since I reacted this viscerally to a novel, as you'll see if you read my review.Rounding out my top three was Helen De Witt's first novel, The Last Samurai. Published in 2000 and then more or less forgotten about, The Last Samurai introduced me to one of my favorite characters of the year, a child prodigy named Ludo. Ludo's gifts are ethical as much as they are intellectual, and I loved De Witt's rigorous adherence to her own peculiar instincts; her refusal to craft a "shapely" novel in the M.F.A. style.Other favorite classics included Balzac's Lost Illusions and Fielding's Tom Jones - each the expression of a sui generis authorial temperament - and Anne Carson's odd and arresting translation of the fragmentary lyrics of Sappho. Every year, I try to read at least one long, modernist novel from my beloved Wiemar period; in 2007, Hermann Broch's The Sleepwalkers reminded me why. And from the American canon, I was smitten with Robert Penn Warren's All the King's Men (essay) and Joseph Heller's Something Happened (review).Three books by short-story writers whom I'd nominate for inclusion in the American canon: Excitability: Selected Stories by Diane Williams, Sylvia by Leonard Michaels (review), and Transactions in a Foreign Currency by Deborah Eisenberg, one of my favorite contemporary writers.Of the many (too many) new English-language novels I read, the best were Tom McCarthy's stunningly original Remainder, Mark Binelli's thoroughly entertaining Sacco & Vanzetti Must Die, Thomas Pynchon's stunningly original, thoroughly entertaining, but unfocused Against the Day (review), Denis Johnson's Tree of Smoke (review), and Don DeLillo's Falling Man. This last book seemed to me unfairly written off upon its release. I taught an excerpt from it to undergraduates, and for me, DeLillo's defamiliarized account of September 11 and its aftermath deepened with each rereading.The best book of journalism I read this year was Lawrence Wright's The Looming Tower (review). And my two favorite new translations were Gregoire Brouillier's memoir, The Mystery Guest (review), and Tatyana Tolstaya's novel, The Slynx (review).Thanks for reading, everybody. See you in '08!More from A Year in Reading 2007
Secret Histories: The Jamestown Colony in Postmodern Fiction
In this week's New Yorker, Jill Lepore offers a bemused consideration (not available online) of the Library of America's new edition of John Smith's works. Collected fact, or collected fiction? she asks. In True Travels alone,Smith [claims] to have defeated armies, outwitted heathens, escaped pirates, hunted treasure, and wooed princesses - and all this on four continents, no less, if you count a little island in North America that this year celebrates its four-hundredth anniversary as the birthplace of the United States.Putting aside, for the time being, questions of veracity (not to mention morality - "outwitted heathens?"), the quadricentennial seems like a good time to touch upon the wonderful (and growing) body of fiction inspired by Captain Smith's exploits.John Barth's The Sot-Weed Factor is surely a leading exemplar of the subgenre - as well as being one of the finest novels of the 1960s. Into the hilarious and strangely affecting story of one Ebenezer Cooke, Gentleman, Barth drops passages from Smith's "secret [read: invented] histories." Smith emerges as a liar and braggart of the first rank. But Cooke's intrepid tutor Henry Burlingame, undaunted, seems to model himself on the Captain. In the course of the novel, he "hunts treasure [and] wooes princesses," while bewildered Ebenezer blunders along in his wake. If you want a black comedy of high adventure (or if you want to see where Pynchon got the language for Mason & Dixon) look no further.In the 1990s, William T. Vollmann revisited the Jamestown story with Argall. Here, we get Barth's pastiche of colonial Queen's English filtered through Vollmann's distinctive authorial temperament. Like Barth, Vollmann is fascinated by the violence of the early English colonists and the slaughter endured by the American Indians (a fascination he indulges throughout his unfinished Seven Dreams series). Unlike his metafictionist predecessor, however, Vollmann blurs the lines between fiction and journalism, between fact and legend... Sound familiar?We'll pass over Disney's Pocahontas (IMDb) in silence, but Terence Malick's astonishing movie The New World (IMDb) certainly merits inclusion in the Jamestown canon. Malick takes a characteristically earnest approach to his subject. Even as his colonists descend into evil, Malick unabashedly evokes the romantic pull of the virgin land. He portrays the Powhatan tribe as innocents, much as the settlers did - but without the condescension that enabled so much slaughter. This movie is resolutely un-PC, and for that reason its condemnation of European conquest breaks through the familiar litany of post-colonial pieties. It is devastating, as any account of the origins of the U.S.A. should be.Now Matthew Sharpe, author of The Sleeping Father, has come along to toss his buckler into the ring. His new novel, published by Soft Skull, is called, simply Jamestown. I have not read it, but I can say that I like Sharpe's writing a lot. Here he reimagines the Jamestown colony as a postmodern battleground, pitting settlers who travel by bus against indigenous people unskilled in the use of sunscreen. This appears to be an "ahistorical fantasia," along the lines of Mark Binelli's Sacco and Vanzetti Must Die! or Chris Bachelder's U.S.! It's notable that younger American writers are fleeing the good government of the historical novel in an era that has itself started to seem dystopic...that has, as Frederic Jameson puts it, forgotten how "to think the present historically." But Sharpe's choice of setting seems propitious. For as the Vollmann and Barth books show, there's nothing novel about these wild new novels. They're part of a grand tradition of American craziness that, Jill Lepore points out, stretches back to John Smith himself - "Who told his glorious deeds to many, / But never was believ'd of any."