Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto

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Book Previews

The Great Fall 2024 Book Preview

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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 [millions_email] 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. [millions_email]
Reviews

Remembering the Present: On Chuck Klosterman’s ‘But What if We’re Wrong?’

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Chuck Klosterman is the king of pop culture. No other writer has evidently spent so much time having smart conversations about The White Stripes, "The Sims," or U2. Books like Sex, Drugs, and Cocoa Puffs helped elevate discussions about pop culture from who's sleeping with whom or fanboy arguments over which Pixies record is better, as Klosterman found esoteric connections between AC/DC and ABBA, or Nirvana's In Utero and the Branch Davidian disaster. It was Klosterman’s odd, poignant observations that made me pick up Killing Yourself to Live in 2005 (that and the premise of visiting sites where rock stars died -- I was kind of morbid then), and I still thank Blender for publishing a short review of the book. Books like this, or Eating the Dinosaur or Chuck Klosterman IV, made obsessing over pop culture cool. He deconstructs episodes of Saved by the Bell, dissects the importance of Morrissey to the Mexican community, and convinces people that heavy metal matters. Even his banter about sports was tolerable for the sports illiterate. I no longer had to feel embarrassed about caring more about what was happening in music and movies than about NASA's latest discovery. The way Klosterman includes anecdotes from his life shows we're all a little obsessed with pop culture, and that it’s okay. Six books later and he has me mulling over questions like what TV show will most represent life in the 21st century? Which musician will be the face of rock music? Will the multiverse theory sound more plausible? With But What if We're Wrong? Thinking About the Present as if it Were the Past, Klosterman takes a break from dishing on pop culture to consider the way we will be remembered in the future, by people who view our present day as the past. I was skeptical when I first heard the concept of the new book and suspected that it would be complex and hard to follow, like his last book, a treatise on villainy called I Wear the Black Hat. Klosterman didn't quell these fears by opening with “This is not a collection of essays.” And he's sort of right. The book is more like a college research paper: he presents his argument, provides examples, and cites from interviews he's held with people like Neil deGrasse Tyson and David Byrne in hope of bringing readers around to his brand of thinking. But even as he’s presenting complex scenarios, like why we don't know everything about gravity or whether it's possible our life is just a simulation, he brings the humor and wit prevalent in his writings on pop culture. And Klosterman can't help but turn to pop culture to help clarify his arguments. Though most of his arguments are well thought out and complete, there are a few that aren't so clear. In the chapter “The Case Against Freedom,” Klosterman talks about how some parts of the Constitution and Declaration of Independence are outdated and how no efforts have been made to update them, bouncing from claims that Barack Obama is the greatest president to people having the right not to vote. These observations are interesting, but they feel like tangents distracting readers from the overall mission of the book. Meditations on the posthumous legacy of pro-wrestlers like Macho Man Randy Savage are witty and smart in Klosterman form, but difficult to relate back to his original argument. Even Klosterman seems concerned that we’ll lose the thread, and repeats the purpose of the book several times throughout. Klosterman’s interviews with experts are a highlight of the book. He talks about how rock music will be remembered with Ryan Adams and asks Kathryn Schulz and Junot Díaz and George Saunders what kind of writers will be recognized in the future. His conversations with Neil deGrasse Tyson and string theorist Brian Greene prove to be fascinating, if creepy, measured discussions of whether life might be a simulation. The interviews balance out the book: it’s a testament to Klosterman’s credibility as an observer of modern life that he was able to loop in so many bright lights. So what are his findings? For television, he throws readers for a loop, shunning “Golden Age of Television” shows like Breaking Bad and House of Cards for, of all things, Roseanne. The musician that will ultimately represent rock music is Chuck Berry and the writer that will be most remembered is someone totally unknown. His choices may seem jarring, but they make more sense as they're unpacked. Roseanne wasn't picked for the great writing; rather Klosterman feels it most represents our reality. The show's family members didn't look like they stepped out of a modeling agency, their house was often messy, and they weren't afraid of bickering. Chuck Berry's “Johnny B. Goode” is the epitome of rock 'n' roll; “simple, direct, rhythm-based music. Even John Lennon once said “If you tried to give rock and roll another name you might call it Chuck Berry.” And the writer who'll be remembered in the future? Both Klosterman and Shultz argue it'll most likely either be someone totally unknown or currently unappreciated, based on retroactive views on Moby-Dick and Anna Karenina. These conclusions don't come easy. He goes through various choices for each and spends time working why they would and wouldn't be appropriate, as if trying to convince himself. Klosterman's conclusions hold up pretty well. He attacks the argument from various angles and provides different examples to convince both readers and his interviewees. Some of his arguments are more well thought than others; though the Roseanne conclusion makes sense, Klosterman spends more time arguing why certain shows don't make the cut than explaining his pick. He doesn't address those who don't see themselves represented by Roseanne or point out that, in the end, the show was all inside Roseanne's head (bringing it back to Neil DeGrass Tyson!). As he talks through his choice, even he seems unconvinced, and ends the chapter defeated, saying he doesn't know if he's right at all. Nonetheless, the chapter is one of the most engaging in the book. Though he may convince readers, he doesn't always convince his peers. Both Ryan Adams and Jonathan Lethem disagree with his findings on Chuck Berry, with Adams arguing it's not the inventor that matters, but rather “the symptom of the thing that was set in motion,” e.g., Twitter rather than Twitter's creator. Kathryn Schulz actually seems to change Klosterman's opinion regarding writers. He originally argued the writer to be remembered will be someone totally unknown until Shultz said “The likelihood that the greatest writer will be known but not fully appreciated?...That would be more like fifty-fifty,” at which point he beings to argue from her point of view. Often times Klosterman will play devil's advocate to challenge the expert opinion; sometimes they'll change their opinions, sometimes not. Klosterman allows himself to be swayed, and allows himself to be wrong. The ebb and flow of opinions shows how difficult Klosterman’s project is, and how charming a writer he can be.
The Millions Interview

An Alternate Universe of Pop Culture: A Conversation with Teddy Wayne, Author of The Love Song of Jonny Valentine

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I first came across the work of Teddy Wayne in his debut novel, Kapitoil, the story of a Qatari computer programmer living in Manhattan. Daring in subject matter yet impeccably relatable in its concerns — how does one live well? — Kapitoil marked the arrival of a new voice in fiction with something important to say about our relationship to not only the complex machinations of the stock exchange but to pop culture as well. Now, Wayne returns with his sophomore effort, The Love Song of Jonny Valentine, a coming-of-age novel about a tween singer in the vein of Justin Bieber. Once again, Teddy Wayne examines the role pop culture plays in our lives. Who creates it? Who benefits from it? What is its effect on us? In January, I had the opportunity to read with Wayne in Manhattan, and almost immediately after, we set up this interview to discuss some of these questions. The Millions: The lame cliché writing instructors often tell their students is to avoid dropping pop culture references in their work so that it’ll be more timeless. Yet both of your novels are steeped in their time and place. Kapitoil touches on fantasy baseball and samurai flicks, and the plot hinges on the paranoid run-up to Y2K. Your new novel, The Love Song of Jonny Valentine, discusses Jonny’s music, his concerts, his Twitter feed, even his staged relationship with another teeny bopper. What is it about popular culture that interests you? Why do you think it keeps popping up in your work? And do you think the old advice about avoiding pop culture in fiction is old-fashioned or esoteric? Teddy Wayne: David Foster Wallace got into arguments about this in graduate school, when he wanted to depict the heavily mediated space around him — subject matter his professors thought was inconsequential or un-literary. As he pointed out, he’d see hundreds of ads and commercials each day, and they constituted an integral part of his mental activity. Writing about this material gets pejoratively labeled “postmodern” or “experimental,” but what’s more “realist” than describing the physical world, even if billboards and 30-second spots replace trees and rivers? Likewise, it misses the point to discard fiction simply because it’s about social media or the celebrity-gossip machine and not Iraq or divorce. By focusing on areas that seem marginal through a narrow aperture, you can sometimes render a much more expansive portrait of a country. I’m an advocate of critic Manny Farmer’s agile, industrious “termite art” (as opposed to bloated, self-important “white elephant art”): The most inclusive description of the art is that, termite-like, it feels its way through walls of particularization, with no sign that the artist has any object in mind other than eating away the immediate boundaries of his art, and turning these boundaries into conditions of the next achievement. Moreover, James Joyce and Jane Austen — and nearly all writers, ever — also wrote about the popular culture of their times; it just wasn’t called “pop culture” then. Disposable songs of the day frequently recur in Ulysses, for instance, including “What-Ho! She Bumps!,” which sounds like a Black Eyed Peas' single. Many Americans no longer have physical communities. We don’t know our neighbors or live in the same place for our whole lives; our kids don’t play together in the street; we don’t socialize in organized groups, whether in a house of worship or a bowling alley. What we do have is mass culture that binds us, so that two coworkers who have little in common can still discuss last night’s episode of American Idol around the water cooler. (And that ritual, too, is getting fragmented now that people watch television shows on their own time and the culture is further splintering into yet more tribes.) This has become our ersatz religion, and it’s important to document and analyze its effects on us. TM: Even though The Love Song of Jonny Valentine is drenched in our tween-sensation, YouTube landscape, there are very few references to real life pop culture phenomena within the book. Jonny’s favorite video game sounds appropriately complex and plausible, yet it doesn’t exist. Jonny speaks about the artists that have influenced him, but they’re rarely, if ever, real-life singers. Even his hero, Michael Jackson, is only referred to as MJ throughout. What prompted you to go this route with the novel? Why create an entire alternate universe of pop culture for Jonny to exist in? And did you ever consider using real life singers and video games in the novel? TW: I generally find it hacky when public figures show up fictionalized in books (or TV shows or movies) in cameos, because it lends itself to caricatures, unless the writer does something radically revisionist with the received persona (as Wallace, for example, does with Alex Trebek and Pat Sajak in the story “Little Expressionless Animals”). It feels like gratuitous name-dropping, in the same way that it annoys me when writers use a historical event, completely independent from the story, to ground us in time and place (the way Mad Men does far too much, for my taste). So while Jonny and the novel refer to real musicians and songs throughout — from the aforementioned MJ and “Billie Jean” to The Clash and “Complete Control” — the two other musical performers who dominate the book are fictional: pop megastar Tyler Beats, whose career Jonny is trying to emulate, and Zack Ford, the front man for the Latchkeys, Jonny’s opening rock band. The late-night talk-show host who interviews him might strike some readers as similar to a real figure, but by naming him, it reduces the character to that sole possibility. I’d like the book to operate, as you suggest, as an alternate universe, both to preserve this potential and to invite in readers who have limited knowledge of contemporary music. Ideally, you should be able to enjoy this even if you stopped listening to new music after 1970. A friend proposed I name the video-game system Jonny plays, but I declined to, for the same reason; if it’s a PlayStation, then it can be only that system, and the game Jonny plays incessantly has to accord to its real-life standards. Incidentally, the game, called The Secret Land of Zenon, is based off a real role-playing game series (does this make me sound incredibly cool or what?), Ultima, that I played for a few years when I was much younger. It’s always a catalyst for bonding — since I’m not in a bowling league — when I find out someone else has a nostalgic attachment to the same semi-obscure object from their youth. I got a lot of emails for a throwaway allusion to the “purple stuff” Sunny Delight commercial in Kapitoil. TM: I also steep my work in the details of the era. My novel Last Call in the City of Bridges is set during the first Obama campaign, and the characters routinely voice their triumphs and failures on Facebook and Twitter. Even in four short years, the way people interact over social media is totally different. People don’t write things like “Teddy Wayne is answering questions for an interview” anymore, but they did back in 2008. So I’m wondering if you share my fear, that perhaps we’re dating our work by relying so much on the internet and pop culture. In Chuck Klosterman’s Sex, Drugs, and Cocoa Puffs, he worries that his book will one day be “as outdated as a 1983 book about Fantasy Island.” I teach Klosterman’s essay about Saved by the Bell, and it’s always astounding to see how and if undergraduates can interact with it if they have no knowledge of the show. Do you ever worry about prematurely dating your book, or do you think it’s almost impossible not to date your work? TW: I really like that Klosterman essay, having parlayed my years of committing every episode to memory into a single humor piece years later. Efficient use of my youth. And I’ll resist the urge to make a bad joke about dating my book by taking it out to dinner and a movie and we’ll see where the night takes us. I’ll strongly resist it. My aim for this book, and my first one, was to capture something about the era it portrays (and in the case of Kapitoil, set in 1999, also the era it was published in) while doing my best to write a story that transcends the time period. It’s true that, 50 years from now, we won’t be using Twitter as we currently do, but we don’t ride in stagecoaches or believe in the Olympian gods, either, and plenty of those narratives remain relevant. Investigating your contextual surroundings confines you to that spatial-temporal sphere only if that’s your one concern. I recall reading an interview with Bret Easton Ellis about Glamorama, in which he responded to concerns that its extensive cast of millennial celebrities might soon be outdated, as this list from the first chapter makes clear: Naomi Campbell, Helena Christensen, Cindy Crawford, Sheryl Crow, David Charvet, Courteney Cox, Harry Connick, Jr., Francisco [sic] Clemente, Nick Constantine, Zoe Cassavetes, Nicolas Cage, Thomas Calabro, Cristi Conway [sic], Bob Collacello, Whitfield Crane, John Cusack, Dean Cain, Jim Courier, Roger Clemens, Russell Crowe, Tia Carrere and Helena Bonham Carter — but I'm not sure if she should be under B or C. Ellis’s answer was that of course it would be outdated — that was exactly his point. (This seems like an easy point to make, but that’s another matter. When a novel’s major project is to expose the shallowness of the culture, it risks being equally shallow. Also, check out how outdated that New York Times page looks by now.) If your entire mission is to traffic in the there-and-gone minutiae of our culture, then, yes, I think you flirt with early obsolescence. If you marshal it as the trappings for a complete story, though, you have a chance to pinpoint exactly what it is about the epoch that is also universal. It’s ironic, though, that we sometimes criticize contemporary work steeped in modern detail for its triviality, yet lavish praise on period fiction or entertainment with hyper-accurate attention to historical detail (again, Mad Men). To me, that sometimes also feels like the name-dropping of celebrities, or an occasion for the writer — or set and costume designers — to prove to the reader that he’s done his homework. TM: This is a bit of a softball question, but it’s one I kept coming back to while reading Jonny Valentine. You seem like a very well-adjusted, adult man. What prompted you to write a book from the perspective of a prepubescent tween heartthrob? What is it that interests you about this world? What do you think it says about us as a society when Justin Bieber can go from a completely normal kid singing on YouTube to an overnight sensation recording tracks with Kanye West and the Rza? Does it say anything? TW: You’d have to canvas my friends to gauge how well-adjusted and adult I really am. Though I’m not an 11-year-old, I certainly share many of Jonny’s anxieties, especially his professional ones. He gets nauseous before sold-out performances at corporate arenas; I get a few butterflies before reading in front of four people at a bookstore. He’s promoting his second album; this is my second book. He chronically masturbates in hopes of achieving his first ejaculation; I...never mind. I’ve always been interested in child stars and prodigies. It’s a strange phenomenon, to have an adult mind or adult responsibilities but the restricted emotional comprehension of a child. We’ve had huge child stars in this country for a long time, ever since Jackie Coogan and Shirley Temple in the 1920s and ’30s, and many more the last few decades, especially this most recent one. We’re fascinated by the contrast of outsized talent in somebody so small, and we impute qualities to them — usually angelic innocence — that may not necessarily reflect their private personae. And their histories are often profoundly tragic; I don’t need to list the examples. I don’t know what the overnight-sensation trend says about us other than that we’ve always been a country fixated on get-rich-quick schemes and the dream that someone with power will discover us at the drugstore soda fountain and turn us into a star. The difference, now, is that nearly everyone has the potential to make him or herself famous for fifteen seconds (perhaps not minutes) — especially if you don’t mind public humiliation. TM: How deeply did you research this world? In the acknowledgments section, you bring up some influential nonfiction books, but I want to focus on the music here. Did you go out and buy a bunch of tween albums? Did you listen to them incessantly? Do you have favorites? Did you listen to any while writing? TW: I listened to more tween pop than I cared to, to get a feel for the public images but also the lyrics, so that Jonny’s own songs sounded plausible and not like satirical send-ups. But I also read some child-star autobiographies, from the somewhat more serious (Tatum O’Neal’s A Paper Life) to the semi-trashy (Drew Barrymore’s Little Girl Lost) to the propagandistic-advertorial (Miley Cyrus’s Miles To Go). And I read a number of tween-celebrity websites and magazines, sometimes in public, which can be hard to explain to onlookers. I’m partial to One Direction’s “What Makes You Beautiful.” I think that would be the way to be an adolescent pop star: in a quintet, so that you’re among friends, even if everyone knows that just one of you will make it out alive (Mark Wahlberg, Justin Timberlake). TM: On the surface, Kapitoil and The Love Song of Jonny Valentine couldn’t be more different; however, they share some similarities. Both are told in very convincing first-person voices from characters with extremely different backgrounds from your own, and, reduced to their most basic levels, both involve young men finding their place in the world. Do you find it easier to write in first person than third? Did you ever attempt to write either of these books in third person? Is third person something you want to work toward in future novels, or do you not obsess about the divide between third and first as much as I do? TW: I do find it easier to write in first person, when I’m able to stretch out the fullest possibilities of a character’s voice, which is the most pleasurable part of writing for me. I’m always drawn to ventriloquism, especially of characters with idiosyncratic speaking styles. This is not to say I won’t ever write in the third person, but reading first person typically inspires deeper empathy for me. It also feels like it best exploits the native advantages of fiction — interiority and subjective language — whereas film can sometimes surpass what third-person narration does. (Film can use voice-over, of course, but it’s usually clunky.) Kapitoil didn’t sell in its first round of submissions, and several editors complained about Karim Issar’s voice, an English-as-a-second-language hybrid of technofinancial jargon and mathematically precise grammar. My agent thought I should see what it would look like in the third person, so I “translated” a page. It was lifeless, lacking everything that a reader might gravitate to in the book, so I stopped. (I did revise the last third of the book, among other things, which was a more necessary fix.) TM: Kapitoil was released in April 2010, and The Love Song of Jonny Valentine will be published this February. That’s less than three years. How do you manage to produce so many pages? Do you write every day? Or are you someone who writes in quick bursts? Do you think your process informs the work you do? And finally, what’s next? Are you going to take some time off between books, or are you already imagining what your third novel will be? TW: Before and after Kapitoil was published, I was slogging through another novel for about a year. I wasn’t having fun with it and the words were coming slowly; I think I produced about 100 pages. Then, one morning in October 2010, a friend emailed me asking if I had any ideas for a humorous book we could collaborate on. Without much premeditation, I suggested a parody of the pop-star autobiographies I would later go on to read for research. He liked the idea; an hour later, I realized it could make a good novel if I treated it with more gravity. I wrote 3,000 words that afternoon, a torrent for me. (I usually aim for 500 a day and am ecstatic if I get 1,000.) Soon after, I signed up at Paragraph in New York, a writers’ room, and used an old computer with no Internet so that my only entertainment was writing the novel itself. I finished a first draft in six months, also speedy for me, and spent about a year revising until my agent tried to sell it (and then several more months of work with my diligent, brilliant editor, Millicent Bennett, after Free Press bought it). It was a lesson that if a project is proceeding torturously, maybe you should abandon it, and if something is coming (relatively) easily, it might be a good sign. I mix in a decent amount of freelance writing, too, so I try to write something most weekdays and sometimes on the weekends, though I don’t hold myself to a strict schedule. With fiction, I can concentrate for about four hours at a time; for nonfiction or humor writing, I can last much longer. In the near future, I’ll be working on a screenplay with the writer Amber Dermont, author of The Starboard Sea and the forthcoming story collection Damage Control, and on a TV pilot with her and director/screenwriter Yaniv Raz. I have a vague idea for a new novel, but if the past is any indication, it will also be a bust (I finished a failed novel before Kapitoil, too). I look forward to referring back to this interview several years from now to tell an anecdote about the misguided novel I’d been struggling with before I righted my ship.

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