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A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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Everything I Know About America I Learned from Stephen King
1.
Back in 1975, Stephen King began 'Salem's Lot, his second novel, with an epigraph from George Seferis: "Old friend, what are you looking for?/ After those many years abroad you come/ With images you tended/ Under foreign skies/ Far away from your own land." This summer, I settled down to read Joyland, something like the fiftieth novel Stephen King has published since he began his career forty years ago. I joke to no one in particular that Stephen King has an occult novel-writing machine, or a crack team of monkeys with keyboards, or a computer formula that writes his books for him, and Joyland does occasionally convey that quality of phoning it in; it just feels so easy for this guy. But it's still a Stephen King book, which means it has a kicking story and a sentimental old heart. And since I seem destined, this summer, not to pick up a book or watch a movie or engage with any kind of artistic project without having some kind of maudlin experience or generally going through something, reading this nostalgic whodunit set in the lost world of the summer carnival launched me on my own nostalgic expedition. In Stephen King's funhouse mirror, I saw all the other Stephen King books I have read since my childhood, under foreign skies, far away from my own land.
2.
I am an only child and I grew up in a Foreign Service family, which means that my family picked up and moved every two to five years. Being a quasi-international child had a variety of effects, some transitory, some enduring. Foreign Service children, in my experience, inhabit a strange half-life of cosmopolitanism. Foreign words roll off their tongues, foreign foods succor them, and they are at home with thin toilet paper and thinner ketchup. But in the Foreign Service, your orientation is always in the direction of America, Washington D.C. or the Northern Virginia suburbs your magnetic pole. The very mission of the Foreign Service demands this, of course, and the logistics follow. Vacation is called "home leave"; in addition to all their assorted relatives, most people have some property back home, a building that they fret over and find tenants for and supply with new coats of paint on their short weeks stateside.
The orientation is spiritual as well as practical; overseas, I wore out VHS tapes my grandparents sent me, so that a select handful of episodes of 3-2-1 Contact, Reading Rainbow, and Sesame Street are seared into such a precious, way-back corner of my brain that should I dare to Google for a vignette of skating muppets singing "Feliz Navidad," I would probably have a stroke.
When I was a little girl in Athens (the first of our postings during which I was a sentient being for any prolonged period), this orientation west to the white dome, combined with the distance therefrom and the relative scarcity of things—products mostly—that are unfailingly associated with America, meant that for me the United States became imbued with an unspeakable glamour. It goes without saying (but I will say) that I never lacked for amenities—the life I am describing was a gift from my parents and divine Providence. That said, amenities-wise, the United States was the navel of the universe.
I had some early object lessons in globalization, imperialism, and the profound power of marketing. When the first McDonald's opened in Syntagma square, there were lines around the block, and I rejoiced at the limp pickles on my hamburger. When Wendy's set up shop in a grand old peach-colored building nearby—formerly housing the American Office of Defense Cooperation, now housing a mall—it was a goddamned revelation (it's not there anymore, evidently; the franchise pulled out of Greece in 2009). But there were still things I wanted. I remember hoarding dollar bills for the purpose of buying a book on home leave. To my knowledge it is still the case that it is hard and expensive to get all the books in English you want overseas.
My enthusiasm wasn't only on the material plane. One set of grandparents lived in the north-easternmost part of California in a very small town that feels pretty much like the edge of the world. I found this place so enchanting that I informed my grandparents of my plan to honeymoon there on the eventual occasion of my marriage. Sometimes I think I chose to roost in San Francisco largely due to the memory of that exotic scented air, snuffled up as we exited the airport to visit my other grandparents, who lived near the Bay.
Back in Washington after eight years of overseas living, I went to public school and listened to 99.1 WHFS and DC 101 and surreptitiously watched Roseanne and generally got to the business of acclimating. By the time my parents moved back overseas and I started high school in the U.S., the mild foreignness I had tried to slough off began to seem like an asset, and I embarked on the period I now think of as Working It. This involved a deft combination of encouraging any perception of foreign grandeur associated with my person, protesting too much about my normalcy, and scoring laughs off the Otherness of my new home (I'm sorry, Armenia, for the things I said).
Even after I embraced the foreign, however, sometimes the glamour of America reflected back at me in curious ways. At a store in Yerevan I bought Pink Floyd CDs and a Led Zeppelin album called Live Over America that I haven't seen since. The first cigarettes I ever bought, before I wanted to smoke a cigarette but respected their currency, came from an open-air market and had red and blue packages and names like "American Dream." Back in Athens before college with the new Euro cheaper than the dollar, I hit the summer sales for garments from Kookai and the heavenly Zara, and one day scored some New Balance sneakers of an unorthodox style. (In boarding school, where an entire female bourse operates around the borrowing of clothes, it's good to have some stuff that no one else has.) I took the bus to a gleaming new cineplex in an Athenian suburb to watch American movies that, as the years passed, drew temporally ever-closer to their American release dates, the celebrity name transliterations on the marquis ever more sophisticated.
There is, obviously, nothing intrinsically interesting about an American with a passport and two pairs of genuine or otherwise New Balance kicks manufactured for a non-U.S. market. The world is full of meandering paths and displaced nationalities and people with much more exciting stories than my own. But your childhood is your childhood; as I get older, and the tables of circumstance turn, as I lose whatever light patina of foreignness I had or manufactured and there's a Zara in every American mall and a McDonald's in every city in the world, as I bemoan the garbage food and the garbage construction and the garbage policies of my country and yearn now for a seaside taverna and the glamour of Abroad, there are some early things that stick with me. I never see a 7-Eleven Big Bite and don't instinctively desire to eat it. I know that Heinz ketchup is unmistakable and precious and that a "cheeseburger" anywhere else is to an American cheeseburger what the grotesquerie of pressed dust we find in America is to a gyro. I don't use and barely deserve the driver's license I have, but I deeply admire a hot car. A new paperback purchased with crisp American dollars? That's bliss. A Stephen King book? That's Shangri-La.
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I've done the math, and somehow throughout this modestly peripatetic life, in the hotel lobbies and the airports and the back seat of the car and during idle moments at my series of illuminating summer jobs—visa office photographer, gas station attendant, commissary stockist, slide scanner—I managed to read more books by Stephen King than by any other writer. I remember vividly the row of Stephen King books on the shelf of the basement library in the American Embassy Athens, a fortified Bauhaus dream downtown. Reading Joyland this summer, and then plowing through a handful of others for the second or third or fourth time, I was struck by how much of my conception of America comes from those thick books—what they said to me during that quasi-rootless time, and what they say to me now that both the vague internationalism and the natural solipsism of my childhood have mostly dissipated. For better or worse, I cut my patriotic teeth on the oeuvre of Stephen King.
3.
I am hardly the first person to identify Stephen King as holding some claim to the title of America's chief scribe. Nearly twenty years ago, Jonathan P. Davis wrote Stephen King’s America, an extended academic love poem to Stephen King as an author who "understood the human condition on all levels...who stood on the sacred ground of America...whose feelings about his country resonated throughout his fiction..." As with any attempt to distill the most somethingest traits of a given nation, the attributes typically end up being about things that are actually universal—among Davis's areas of inquiry are "Technology," "Childhood and Rites of Passage," and "Survival in a Despairing World." But I responded, as someone who has alternately fetishized and scorned my country of origin throughout my life, to Davis's instinct to celebrate King as the great American writer of the late twentieth century.
The success of a novelist has to do with the extent to which his work allows the reader to lose herself in the story, but the novels that really resonate are the ones that also invite the reader to apply them to her particular circumstances. In my case, Stephen King books appealed to my lingering sense, even in high school, of America's fundamental glamour, that feeling impelled both by the act of circumnavigating the globe broadly in the service of America's aims, and the foreignness imparted by its distance. And they achieved several things besides scaring and entertaining the hell out of me. At some level, Stephen King novels issued a necessary corrective to my wanton teenage materialism and overweening belief in American goodness. They did their own kind of national myth-making.
In America and Americans, John Steinbeck’s dated, elegiac snapshot of American life in 1966, a book that in some ways encapsulates in non-fiction the portrait of America we find in Stephen King's corpus, Steinbeck writes: "One of the characteristics most puzzling to a foreign observer is the strong and imperishable dream the American carries. On inspection, it is found that the dream has little to do with reality in American life. Consider the dream of and the hunger for home. The very word can reduce nearly all of my compatriots to tears."
In The Stand, Larry Underwood looks around at the Maine coast, cleansed of people:
On either side of them the essence of honky-tonk beach resort had now enclosed them: gas stations, fried clam stands, Dairy Treets, motels painted in feverish pastel colors, mini-golf. Larry was drawn two painful ways by these things. Part of him clamored at their sad and blatant ugliness and at the ugliness of the minds that had turned this section of a magnificent, savage coastline into one long highway amusement park for families in station wagons. But there was a more subtle, deeper part of him that whispered of the people who had filled these places and this road during other summers. Ladies in sunhats and shorts too tight for their large behinds. College boys in red-and-black-striped rugby shirts. Girls in beach shifts and thong sandals. Small screaming children with ice cream spread over their faces. They were American people and there was a kind of dirty, compelling romance about them whenever they were in groups—never mind if the group was in an Aspen ski lodge or performing their prosaic-arcane rites of summer along US 1 in Maine.
In my adult grumpiness and the cold light of day, there are plenty of groups of Americans that I can take in without any pervading sense of their compelling romance, dirty or otherwise. But you can bet your ass I was receptive to this notion in my tender youth. Stephen King himself writes such a dirty, compelling romance that even now he breathes new life into that faded old vision of my homeland.
I would wager that most people who have heard of Stephen King know that he is from Maine; he grew up in Maine, he is a product of its schools, and little Maine towns, real or fictional, are where many of his worlds are built. (And Stephen King novels are all about world-building—although the publishers initially forced him to cut The Stand down to a reasonable size, the magisterial Complete and Uncut edition is one of his best books because it makes so much room for so many people, so many vignettes and backstories.) And even though Derry, à la It or Insomnia, or 'Salem's Lot from the novel of the same name, are characterized as being host to some enduring, elemental evil, this has an odd way of privileging place. These places are special.
Imagine knowing a place so well that you can write all of its inhabitants and landscape and make it feel so much like home, even home with something terrible lurking underneath. I think Stephen King books manage to appeal both to people who have experienced the tyranny and joy of the small town, as well as people who have known rootlessness in its many forms (not, of course, that the two are mutually exclusive). People in Stephen King novels are forever coming back to their hometowns after years away; no matter how long they are gone, they still know their physical and emotional topography.
The recurring characters and places, Mike Hanlon the librarian or the Secondhand Rose, Secondhand Clothes store, or even the Crimson King, contribute to that feeling that the world is just one big American town with all the same points of reference, where people read Misery Chastain novels and remember, or willfully forget, the fire at the Black Spot. (Even apart from the fast food chains springing up like toadstools across the globe, the nature of the Foreign Service, with its far-flung points of insularity, recalls a similar feeling. This will sound like Working It, but I once walked past a man on the street in Yangon whose wedding I had attended in Yerevan a decade before.)
I love the Real Talk that comes out of the characters residing in these towns, things like "[he] looked and acted like the kind of man who would ride his help and bullyrag them around but lick up to his superiors like an egg-suck dog." They remind me of things that my beloved grandpa said or was said to have said, how he might describe someone as looking like "forty miles of bad road."
Stephen King's novels transmit deeper things than hometown nostalgia. As Johathan P. Davis points out in his book, much of King's work is concerned with the American devotion, in theory at any rate, to individual liberty. When King isn't being gross, with his bone splinters and clots of blood and patented semantic move of creating an appalling noun just by adding the word "meat" to the back of another one—e.g., "boymeat" or "greymeat"—he spends a lot of time on the freedoms of the individual. Glenn Bateman, the retired sociology professor of The Stand, spends most of the novel talking about the formation of society and the tension between freedom and social cohesion. When, at the end of that novel, spunky Fran and Stu, a laconic badass from East Texas, make the choice to leave the crowding and rules of the Boulder Free Zone for the rugged, dangerous liberty of the Maine coast, this is posited as a sensible choice, one that only a couple of badasses would make.
In Insomnia, when the yuppie, city-living children of Lois Chasse try to pry her out of her hometown and install her in a retirement community with "a Red Diet Plan, a Blue Diet Plan, a Green Diet Plan, and a Yellow Diet Plan," her beau Ralph "thought of eating three scientifically balanced meals a day for the rest of his life—no more sausage pizzas from Gambino's, no more Coffee Pot sandwiches, no more chiliburgers from Mexico Mike's—and found the prospect almost unbearably grim" (sometimes, freedom has a little bit to do with a Big Bite). Ralph prefers to die like his friend Jimmy V., without having to "show anyone either his driver's license or his Blue Cross Major Medical card." And then there are the abused women Dolores Claiborne and Rose Madder, who declare their independence through a vale of blood.
Ostensibly, every person spends his or her days in the exercise of whatever freedoms are afforded them, but America is famously a place where this individual liberty is (ostensibly) enshrined in founding documents meant to govern a collective whole—it's a nation of people living out their manifest destiny. Nobody understands, and in a sense reifies, this paradox like Stephen King. King disdains in his books the smug and unshakeable belief in personal rightness (he really has it in for yuppies), but he allows for a specialness that in many cases is literally divine—Dick Hallorann or Danny Torrance in The Shining, or Tom Cullen in The Stand, or any number of other characters endowed with exceptional ability, typically a clarity of vision, by some higher power. This is the kind of thing that really appeals to a child, especially an only child. I think it also resonates for good and ill with someone in a Foreign Service environment, which embodies a kind of exceptionalism, with its security doors and special badges and Fourth of July parties and commissaries filled with imported goods.
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Stephen King believes in the individual; while his work battles what Steinbeck called "the screwball organizations which teach hatred and revenge to the ignorant and fearful people, using race or religion as the enemy," he devotes a lot of pages to what Steinbeck likewise calls "the pleasant, benign, and interesting screwballs...poets in flowing robes, inventors of new religions..." without whom we would be "a duller nation." King recognizes all of these screwballs as the real nobility of America. Often, they are teachers: in Insomnia, a character opines, "I think this country is full of geniuses, guys and gals so bright they make your average card-carrying MENSA member look like Fucko the Clown. And I think most of them are teachers, living and working in small-town obscurity because that's the way they like it."
That's American Dream talk, but I think a lot of Americans have a person like this somewhere up in their family tree. Isn't King himself the best testament? For all the pompous literary types he tears down in his work (like the Creative Writing Honors Seminar instructor in It, who calls the writer Bill Denbrough's horror stories "PULP" and "CRAP"), King sprinkles good teachers all over his work, along with other varieties of "benign screwballs" who, we suspect with folksy assurance, would do a sight better job of running the country than the people we pay to do the job.
The best patriots are always the most fiercely critical of their countries, and the critical difference between Stephen King and the big-gun schlock that he often shares space with in airport newsstands, is that Stephen King's writing is a sustained exercise in pointing out the crappy and the horrifying things we all subscribe to by living out our American, and human, existence. Steinbeck wrote that in America, "Fortunes are spent getting cats out of trees and dogs out of sewer pipes; but a girl screaming for help in the street draws only slammed doors, closed windows, and silence." Stephen King uses his stortytelling talents to counter this silence, to show us the worst things about the folks next door and, by extension, ourselves. King has hard words for the government, which does things like wipe out civilization with a series of evil fuckups, but many of his monsters and things that go bump in the night are actually the residents of ordinary little towns, which shelter wifebeaters and molesters and racists and complacent assholes. These characters aren't always bad because they're evil; sometimes they are weak and stupid, uncharitable, feeling sorry for themselves over a slight from a woman or a group. Sometimes they're just the beneficiaries of a hard row without the gumption and can-do to hoe it.
When a man is locked up briefly for assaulting his wife in Insomnia, a citizen asks "'How can assault be a misdemeanor?...I'm sorry, but I never did understand that part.' 'It's a misdemeanor when you only do it to your wife,' McGovern said, hoisting his satiric eyebrow. 'It's the American way, Lo.'" Stephen King talks about other things that comprise the American way. The evil presence living under Derry enriches itself on the pre-existing condition, so to speak, of its citizens. When the fire at the Black Spot—a nightclub built by the black soldiers on the nearby military base—burns scores of people alive, it was the sheet-clad town fathers, not the alien spider, who set the blaze.
On race (and gender), Stephen King has taken and acknowledged some very valid criticism. In his rush to write the whole America, he is basically one hundred percent responsible for the modern incarnation of the Magical Negro, for example in the character of The Stand’s Mother Abagail, a rustic lady Moses who communes with the Lord and walks uphill and back both ways to fix a good supper for her guests. King himself, in a Playboy interview quoted in Davis's book, called Mother Abagail and The Shining’s Dick Hallorann "cardboard caricatures of superblack heroes, viewed through rose-tinted glasses of white liberal guilt..." This is actually another part of my strange inheritance from Stephen King's work. Sometimes the hardest lesson about racism is that it's not always the guy in the sheet. Some discussions about race (beyond the easy ones like laughing at pictures of latter-day Klan members) and some articles about the number of black characters in Girls make me anxious and clammy.
In spite of these faults, there are worse primers on American life than a Stephen King novel, worse pieces of propaganda to absorb. Steinbeck said of the so-called American way of life, "No one can define it or point to any one person or group who lives it, but it is very real nevertheless...These dreams describe our vague yearnings toward what we wish were and hope we may be: wise, just, compassionate, and noble. The fact that we have this dream at all is perhaps an indication of its possibility." I don't feel that way all of the time, but during a summer spent getting reacquainted with Stephen King, between the nostalgia and blood clots and things that go bump in the night, for a moment or two I entertained the possibility.
Image Credit: Pexels/John-Mark Smith.
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