1. Swept up in the wave of resignations and mea culpa that rolled through the literary establishment at the height of the #metoo movement late last year was Paris Review editor Lorin Stein. Stein stepped down from his post on December 6, 2017, amid an internal investigation into his treatment of female employees and writers. After he was tapped for the job in 2010, Stein had garnered media buzz as the Paris Review’s “new playboy,” according to a 2011 New York Times profile, a fixture of the glamorous, boozy New York literary life hired to reboot the magazine’s cool quotient. It turned out otherwise. But in the midst of this very public housecleaning, there emerged a curious erasure that was, if less spectacular than Stein’s ouster, perhaps even more telling as a measure of the uphill work women routinely face in the literary establishment. For Stein, widely cited in the media coverage of the scandal as the third editor in the history of the Paris Review, was in fact its fourth editor. This calculus left out Brigid Hughes, hired as George Plimpton’s successor in 2004 and dismissed just one year later. How did this error manage to slip through the fact-checkers, become enshrined in print as the official history of a leading literary magazine? A.N. Devers, a London-based novelist and rare book dealer, provided an answer. “I’m going to show you how a woman is erased from her job,” she announced in a thread posted to Twitter on December 7, 2017, the day following Stein’s departure. Devers backtracked through the New York Times’s coverage of the Paris Review leadership, from Hughes’ dismissal in 2005 (a move the board’s female members met by resigning in protest), through the hiring of Philip Gourevitch, through the latter’s replacement in 2010 by Stein. The Times article announcing the changing of the guard failed to mention Hughes’s tenure, an omission that was sealed into the historical record one year later with the running of the “playboy” profile, declaring Stein “only the third to hold the title in the magazine’s 58-year history, and the second to follow George Plimpton, himself a legendary New York social figure.” According to Devers, even after being called out on the omission, the Times failed to retract or amend the error. It is these kinds of erasures that Michelle Dean’s new book, Sharp: The Women Who Made an Art of Having an Opinion, is meant to remedy. Focusing on the self-styled “New York intellectuals” of the 1940s, but radiating out to include both forerunners and inheritors, Dean documents the intersecting lives and works of ten twentieth-century American literary women from Dorothy Parker to Janet Malcolm. None of the writers on her list can be said, properly speaking, to have slipped through the cracks of literary and cultural history. And yet, as Dean notes, most sweeping histories of modern American letters continue to frame it as a story dominated by men, with women cast in walk-on roles. “The longer I looked at the work these women laid out before me,” she confesses in the preface, “the more puzzling I found it that anyone could look at the literary and intellectual history of the twentieth century and not center women in it.” Dean’s book is a riposte to this systematic decentering, providing a counter-narrative to the well-worn tales of American literary critical fathers and sons. Along the way, Sharp offers a catalogue of the complex strategies twentieth-century women have adopted, both consciously and unconsciously, in order to navigate a man’s world: to stave off, precisely, being “erased from their job.” 2. Sharp is divided into fourteen chapters, one devoted to each of Dean’s ten principal subjects individually, with the remaining four chronicling their complex interrelationships. Dean explains that she gathered the women in her study, “under the sign of a compliment that every one of them received in their lives: they were called sharp.” Some, like Dorothy Parker, were sharp by temperament. Her innate “inability to accept other people’s self-images” at face value, Dean suggests, “haunted her as a critic.” She was dismissed from her post as theater reviewer for Vanity Fair after bruising one too many Broadway egos. Nonetheless she persisted; Parker would spring back to helm The New Yorker’s “Constant Reader” column in the 1920s. Others profiled in the book viewed sharpness as a moral imperative, like Pauline Kael who, according to Dean, believed her role as critic demanded that she “run roughshod over the politics of reputation.” Still others were, if not motivated by it, at least attentive to the promotional uses of sharp criticism. Nora Ephron, who once famously quipped that to the writer, ‘everything is copy,’ would turn her “willingness to anger the people she knew… [into a] professional asset.” The adjective “sharp” could be bestowed as a compliment, suggesting these were women with wit, brains, smarts. A number wrote manifestos calling for a more robustly critical criticism, bemoaning the milquetoast flavor pervading modern literary reviews (“a chorus of weak cheers… that neither heats to enthusiasm nor reverses to anger,” Rebecca West charged in a 1914 essay appropriately titled “The Duty of Harsh Criticism”). In this case, sharpness connoted intellectual rigor. But more frequently, as Dean documents, “sharp” was lodged as a complaint by male writers who claimed that these women’s cutting, acid, venomous (choose your painful adjective) prose belied a failure of femininity, in the best of cases, and a failure of critical seriousness, in the worst. Whether they came to sharpness by temperament or calculated choice, these women’s style provided ample fodder for those eager to dismiss or dilute their seriousness. While declaring Mary McCarthy’s novel The Company They Keep “very serious,” Alfred Kazin went on to dampen the compliment by suggesting the book’s prose was “as maliciously female as one chorus girl’s comments on another.” Pauline Kael’s 1963 take-down of the boys club of “auteur” film critics was met with an acid rebuttal from Movie magazine targeting her “fanatical feminism” as grounds for a blanket dismissal of her views: “When Miss Kael says that there are no female auteur critics, she is right. She could have gone further: there are, alas, no female critics." In addition to being trivialized as “catty” or “hysterical,” these women were frequently savaged for their lack of manners—a critique from which male writers were, naturally, exempt. Lionel Abel, a member of the New York intellectual set, famously referred to Hannah Arendt as “Hannah Arrogant” behind her back— an epithet she earned for daring to wade into the traditionally masculine fields of philosophy and politics. When Susan Sontag’s first collection of essays appeared in print, a Washington Post reviewer sniffed that its author was, “hardly a likable person”; her voice “rasps and is rude and strident,” they complained. In the highly gendered responses to these women’s voices, sharpness bled into shrill, and commitment tipped over into crazy. Dean meticulously traces the intricate webs, both institutional and personal, that bound these women together and kept them afloat. McCarthy and Sontag overlapped at the Partisan Review and were frequently lumped together as critics. “I hear you’re the new me,” an apocryphal story has McCarthy quipping to Sontag when they were first introduced at a literary soiree. McCarthy and Arendt, after a spat upon first meeting, eventually made up one day when forced to wait on a subway platform together, and were lifelong friends ever after. McCarthy delivered the eulogy at Arendt’s funeral, and painstakingly pieced together her friend’s notes for posthumous publication as The Life of the Mind. Not all of the connections Dean unearths are this substantial. She also records these critics’ references to one another that crop up in passing, littered through letters and interviews, such as aging silent-film star Louise Brooks’s comment to Pauline Kael upon receiving a copy of her latest book: “‘Your picture on the dust cover made me think of Dorothy Parker when she was young in a moment of happiness.’” Such off-hand remarks suggest that even when they hadn’t met face-to-face, these women haunted each other’s mental universes. They were icons: whether to be smashed or modeled mattered little. They measured for one another, even if unconsciously, the terrain already covered, and that still left to conquer. Conspicuously absent from this milieu are women writers of color— an absence Dean addresses, and that is made painfully clear when, in Chapter Three, Zora Neale Hurston makes a cameo appearance that is most notable for its brevity. Where the other writers weave in and out of each other’s lives with predictable regularity and ease, Hurston never penetrated their chummy circle. Dean brings her up in the context of Rebecca West’s 1947 coverage for The New Yorker of the Willie Earle lynching trial in South Carolina. West was shocked by the lynching in the standard way New York liberals always claimed to be shocked by racist violence in the South. But the resulting piece failed to probe the dynamics of American race relations in any substantial way, and Dean notes that West’s offense at the proceedings was “an offense taken on the part of humanity” rather than on the part of African Americans specifically. Zora Neale Hurston would have been a better choice to report on the trial. But black writers, while their novels were covered by major white literary publications in a tip of the hat to “the Negro problem,” were scrupulously excluded from these same forums in the role of critic, Dean writes. Hurston protested this exclusion. “The fact that there is no demand for incisive and full-dress stories about Negroes above the servant class is indicative of something of vast importance to this nation,” she wrote in a 1950 editorial, entitled “What White Publishers Won’t Print,” for The Negro Digest. The protest was, of course, a cry in the wilderness, unlikely to be read by the very white publishers who were in a position to do something about it. Hurston’s double erasure— as a woman, as an African American— was not an erasure the white women critics in Dean’s study were equipped to, or even particularly interested in, addressing. When Hurston died in 1961, she was buried in Florida in an unmarked grave in The Garden of Heavenly Rest, a segregated cemetery. 3. The critics in Dean's study were not always friends. They could tongue-lash one another just as well as outside targets. Pauline Kael criticized one of Joan Didion’s novels as “ridiculously swank,” claiming to have read it “between bouts of disbelieving giggles.” And Kael was flogged in turn by fledgling critic Renata Adler, who in the pages of the New York Review of Books baldly declared the former’s collection of film reviews, When the Lights Go Down, “worthless.” Feminine solidarity, in other words, was not their strong suit. This contrarian streak is evident, Dean emphasizes, in her subjects’ general hostility to second-wave feminism. By and large, they viewed feminism as reductive, essentialist, and overly emotional. Arendt was perhaps the most cutting, declaring Women’s Liberation “not serious,” and opining flatly that the “woman problem” had never posed a problem for her (she had “always just done what she liked to do,” she once remarked airily. Didion, Sontag, and Ephron shared her skepticism, with Ephron the most tolerant of the three. Still, even she complained of the pressure she felt to review feminist writers positively which, if it made for “good politics,” decidedly did not make for “good criticism.” Knee-jerk group allegiance worked against truth and honesty, Ephron insisted— a sentiment clearly shared by others in Dean’s group. Dean is clear-eyed in treating her subjects’ ambivalent relationship to feminism, and honest about the delicacy of her own position as a feminist marshalling these women’s stories in the name of a more gender-inclusive history. (At one point, she imagines Hannah Arendt rolling over in her grave were she to guess at her inclusion in such a book). Yet she defends her choice of subjects, noting she was troubled by the number of feminist critics she encountered during her research who “wanted to cut these women out of history” for failing to turn their talents “to the explicit support of feminism.” This impulse to erase dissenters, she asserts, would be an error. In what comes across as a model of sense and sensitivity in the context of our fractious twenty-first century efforts to construct a workable feminist practice, Dean agrees that while feminism is “supposed to be about sisterhood,” it is also possible for sisters to argue— even to the point of estrangement. “It is not only commonality that defines us,” she remarks in closing. “There is room, in this deep ambivalence about and even hostility toward feminism, to take away a feminist message.” 4. Within the first few pages of The Year of Magical Thinking, Joan Didion narrates with clinical precision the evening her husband died, of a heart attack, as they were sitting down together for dinner. At the hospital, after his body has been discretely tucked away behind a curtain, she overhears a social worker telling the on-call doctor that he needn’t mince words, as she is “a cool customer.” The phrase is one that Didion retains, bemused by what it might imply: that she has failed in her new role of grieving widow? That she is deficient in the art of feeling? If “sharp” women fail at femininity by evincing improper or inappropriate feeling, even more egregious are those who fail to feel at all: those who manifest not sharp edges but, to quote Emily Dickinson, “a Quartz contentment, like a stone.” It is this latter quality in the work of female critics that forms the heart of Deborah Nelson’s study, Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil. Dean’s and Nelson’s lists of cutting women overlap, and both center their studies loosely on the post-war New York intellectual scene. But where Dean’s project involves mapping the social milieu of literary New York in order to trace her writers’ interconnected passages through it, Nelson’s work is more theoretical. What critics often deride as the “tough,” unfeeling, or indifferent tone of these writers’ prose, Nelson argues is in fact a conscious ethical choice. A critic for the Washington Post once complained of Sontag that, “there is nothing in this book to indicate that she cares very much what we think of her tone and manners,” and he was absolutely right: these writers’ eschewed thinking about the readers’ “feelings,” not as a matter or oversight, but as a matter of principle. These artists wrote (or photographed, in the case of Arbus) against the cultural grain for at least two reasons. First, women writers from the nineteenth century onward had been associated with the sentimental style, using emotion in their work in order to bring about social change. Harriet Beecher Stowe’s Uncle Tom’s Cabin, a tear-jerking depiction of the evils of slavery, was intended as political protest, and was largely successful. An apocryphal story tells of Abraham Lincoln greeting the authoress at the White House as, “the little woman whose book started the great war.” If sappiness was somewhat out of style by the 1950s and 60s, the basic premise of sentimentalism was not: sympathy, compassion, and identification with the pain of others was the key to healing collective wounds, as well as to bringing about political and social change. The nascent feminist and civil rights movements, Nelson suggests, looked to leverage such “bonds of feeling and group identification” with the experience of pain in order to bring about social change. The women artists in Nelson’s study quite simply refused to accept the efficacy of sympathy as a political wedge. In doing so, they ran afoul not only of the gendered conventions for protest, but also the ambient culture of therapeutic healing and shared feeling as the road to progress. These women confronted painful subjects, but refused to do so from the point of view of empathy. In bucking this liberal imperative, they committed an unpardonable sin— for which they were frequently excommunicated, by leftists and feminists alike. Perhaps the most notorious example of critical heartlessness— which Dean treats at length in her book as well— is the 1963 publication of Arendt’s Eichmann in Jerusalem. Arendt’s report on the trial of Adolph Eichmann, a principal architect of the Nazi Final Solution, caused an uproar in the critical community for what Gershom Scholem called the “heartless, frequently almost malicious or sneering tone” with which she treated the topic. Her characterization of Eichmann as almost comically ordinary and “thoughtless” rather than evil incarnate was read by many as levity, a refusal to take the suffering of his Jewish victims at its full measure. Yet what others diagnosed as a failure of feeling in Arendt was in fact a conscious choice to exile sentiment from politics. Arendt’s prodigious body of political philosophy and criticism is, in Nelson’s analysis, one long meditation on the dangers of bringing feeling into the public sphere. For Arendt, political rhetoric which shifts attention away from an event to feelings about the event is liable to lead to precisely the kind of murderous “thoughtlessness” she diagnoses in Eichmann. For Eichmann is so dangerous not because he is unthinkably evil, but because he fails to think at all: in the place of imagining plurality, the possibility of other points of view, he substitutes cliché, oceanic “feeling,” commitment to a utopian ideal that necessarily runs roughshod over any fact (or person) whose particularity resists it. “The answer for her,” Nelson concludes, “is to refuse to translate the horrors into emotion rather than into language.” The other writers in Nelson’s study follow a similar logic, insisting that the saturation of public life by “feeling” and spectacles of suffering ironically leads to numbness and inaction rather than a true understanding of the sources of suffering. Sontag included rigorous critiques of sympathy as a useful response to art in her writing on photography and on the Vietnam War. Sympathy, she claimed, was a way of stroking our egos (we congratulate ourselves on our capacity to feel for others, or “feeling good about one’s capacities for feeling bad,” as Nelson writes) while sanctioning political inaction and immobility. The “moral drama of helplessness” is intensely seductive, she argues—and for that reason must be resisted. It is only by exiling feeling from the portrayal of suffering, eliminating the possibility for a sham ethics of what Nelson calls “consolatory distraction [or] moral vanity,” that a writer is true to her subject and to the lived, irreducible experience of pain. If Dean’s study is an effort to rectify a certain erasure of critical women from the annals of American literary history, Nelson’s project is also, at some level, a work of restitution. She resurrects a strain of distinctly feminine political engagement that, in refusing the gendered polarity of masculine stoicism and feminine feeling, quite simply failed to register as a tradition at all. The fact that these women critics so obviously fell short of expected modes of feminine ethical response—soft, sympathetic, emotionally expressive—not only brought censure upon them individually, but contributed to the historical erasure of emotional detachment as a legitimate alternative to the politics of empathy. 5. Finally, Nelson’s study clarifies a question left open by Dean’s book: why Sontag, Arendt, Didion and McCarthy were so lukewarm on feminism. Their commitment to the concrete, the individual, the “fact” made them suspicious of abstract principles generally, especially group identity or what today would be called “identity politics.” They could only see such blanket categories as, in Ephron’s words, constricting and “dishonest.” They saw their fierce commitment to the value of the individual and particularity as a bulwark against the political and historical dangers of abstraction— not to mention the aesthetic pitfalls of didacticism. These women fought, tooth and nail, against the harassment, wrath, dismissal, and erasure that waited for them around every corner as they sought to secure a place for themselves in male-dominated literary institutions. They were subjected to this treatment because they belonged to a class of humans long held incapable of critical genius. And it was because, perhaps, their membership in this class (“women” writers) had so little to do, in their own minds, with what they were capable of or who they were in the fullness of their humanity, that they were reluctant to use their successes as a political lever on behalf of other women. To do so would be to acknowledge and even reinforce the very group-based prejudice they felt was so arbitrary a barrier to their own voices being heard. It should be possible to do both.
Out this week: Circe by Madeline Miller; Heads of the Colored People by Nafissa Thompson-Spires; And Now We Have Everything by Meaghan O’Connell; Though I Get Home by YZ Chin; Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean; Displaced: Refugee Writers on Refugee Lives edited by Viet Thanh Nguyen; and Black Swans by Eve Babitz. Want to learn more about upcoming titles? Then go read our most recent book preview. Want to help The Millions keep churning out great books coverage? Then sign up to be a member today.
"There tends to be this idea that every piece and every assignment and every gig is always something speaking from the soul. We think that about great writers, that they’re incapable of doing hackwork." The Rumpus interviewed Michelle Dean about women writers, the research process, and her forthcoming book, Sharp: The Women Who Made an Art of Having an Opinion. Pair with: Dean's 2016 Year in Reading entry.
We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month — for more April titles, check out our First-Half Preview. Let us know what you’re looking forward to in the comments! (Also, as Millions founder and publisher C. Max Magee wrote recently, you can help ensure that these previews, and all our great books coverage, continue for years to come by lending your support to the site as a member. The Millions has been running for nearly 15 years on a wing and a prayer, and we’re incredibly grateful for the love of our recurring readers and current members who help us sustain the work that we do.) The Female Persuasion by Meg Wolitzer: Wolitzer is one of those rare novelists who is able to capture the zeitgeist. Her follow up to The Interestings, The Female Persuasion centers around Greer Kadetsky, who is a freshman in college when she meets Faith Frank, an inspiring feminist icon who ignites Greer’s passions. After graduation, Greer lands a job at Frank’s foundation and things get real. Wolitzer is a master weaver of story lines and in this novel she brings four together as the characters search for purpose in life and love. As the starred review in Publisher’s Weekly says, this novel explores, “what it is to both embrace womanhood and suffer because of it.” Amen sister. (Claire) The Recovering by Leslie Jamison: The bestselling author of The Empathy Exams brings us The Recovering, which explores addiction and recovery in America, in particular the stories we tell ourselves about addiction. Jamison also examines the relationship many well-known writers and artists had with addiction, including Amy Winehouse, Billie Holiday, Raymond Carver, David Foster Wallace, and more. The Recovering has received advance praise from Stephen King, Vivian Gornick, and Anne Fadiman. Chris Kraus described the The Recovering as “a courageous and brilliant example of what nonfiction writing can do.” (Zoë) America Is Not the Heart by Elaine Castillo: As we enter year two of the Donald Trump presidency, Castillo’s first novel challenges readers to look beyond the headlines to grasp the human dimension of America’s lure to immigrants in this big-hearted family saga about three generations of women who struggle to reconcile the lives they left behind in the Philippines with the ones they are making for themselves in the American suburbs. (Michael) Circe by Madeline Miller: It took Miller 10 years to write her Orange Prize-winning debut novel, The Song of Achilles. Happily, we only had to wait another five for Circe, even more impressive when one considers that the novel’s story covers millennia. Here Miller again invokes the classical world and a massive cast of gods, nymphs, and mortals, but it’s all seen through the knowing eyes of Circe, the sea-witch who captures Odysseus and turns men into monsters. (Kaulie) Heads of the Colored People by Nafissa Thompson-Spires: A debut collection of stories exploring black identity and middle-class life in so-called “post-racial” America, with storylines ranging from gun violence and depression to lighter matters like a passive-aggressive fight between the mothers of school kids. George Saunders called these stories “vivid, fast, funny, way-smart, and verbally inventive.” (Lydia) And Now We Have Everything by Meaghan O’Connell: O’Connell’s memoir—her first book—is here to remedy the “nobody tells you what it’s really like” refrain of new mothers. Giving birth to her son in her 20s, after an unplanned pregnancy, O’Connell chronicles the seismic changes that happened to her body, routine, social life, and existential purpose before she knew what was coming. All the cool moms of literary twitter (including Edan!) are raving. (Janet) Though I Get Home by YZ Chin: Winner of the Louise Meriwether First Book Prize, this debut is a linked collection of stories centering the through-character of Isabella Sin, a young woman from Malaysia who, among other things, is imprisoned for writing pornographic poetry. With titles like “When Starbucks Came" or “A Malaysian Man in Mayor Bloomberg’s Silicon Alley,” the book navigates Malaysian culture and politics and the way they play out in the lives of individuals. In a starred review, Kirkus calls this a "haunting, surprising, and rebellious collection that contains multitudes." (Lydia) Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean: You’ve been reading Dean’s reviews and journalism for some time at The Nation, The Guardian, Buzzfeed, The New Yorker, Slate, Salon The New Republic, et alia. Winner of the 2016 NBCC’s Nona Balakian Citation for Excellence in Reviewing, Dean is debuting her first book with apt timing: Sharp features intertwining depictions of our most important 20th-century female essayists and cultural critics—Susan Sontag, Dorothy Parker, Hannah Arendt, Pauline Kael, Rebecca West, Janet Malcolm, Joan Didion, and others. A hybrid of biography, literary criticism, and cultural history, Sharp has been praised and starred by PW as a “stunning and highly accessible introduction to a group of important writers.” (Sonya) How to Write an Autobiographical Novel by Alexander Chee: In addition to receiving a starred review—and being named a Top 10 Essay Collection of Spring 2018—by Publishers Weekly, Chee’s essay collection explores a myriad of topics that include identity, the AIDS crisis, Trump, tarot, bookselling, art, activism, and more. Ocean Vuong described the book as “life’s wisdom—its hurts, joys and redemptions—salvaged from a great fire.” (Zoë) Disoriental by Négar Djavadi (translated by Tina Kover): From the waiting room of a French fertility clinic, a young woman revisits the stories of generations of her Iranian ancestors culminating in her parents, who brought her to France when she was 10. This French hit, published in English by Europa Editions, is called “a rich, irreverent, kaleidoscopic novel of real originality and power” by Alexander Maksik. (Lydia) Black Swans by Eve Babitz: Until last year, Babitz was an obscure writer who chronicled hedonistic Los Angeles in the 1960s and 1970s. And then Counterpoint and NYRB Classics began reissuing her memoirs and autofiction, and word of Babitz’s unique voice began to spread. In The New Yorker, Jia Tolentino wrote, “On the page, Babitz is pure pleasure—a perpetual-motion machine of no-stakes elation and champagne fizz.” Novelist Catie Disabato asserts that Babitz “isn’t the famous men she fucked or the photographs she posed in. She is the five books of memoir and fiction she left behind for young women, freshly moved to Los Angeles, to find.” Black Swans is the latest in these recent reissues. Published in 1993, these stories/essays cover everything from the AIDS crisis to learning to tango. And, of course, the Chateau Marmont. (Edan) Displaced: Refugee Writers on Refugee Lives edited by Viet Thanh Nguyen: An anthology of essays by 18 excellent writers who are also refugees, including Aleksandar Hemon, Porochista Khakpour, Maaza Mengiste, and Dina Nayeri. In a decade characterized by massive global displacement that seems likely to grow worse, this collection is both a reminder of the lives altered or destroyed by geopolitical happenings, and a gesture of aid: the publisher will donate $25,000 annually to the International Rescue Committee, or 10% of the book's cover price. (Lydia) The Only Story by Julian Barnes: Give this to Barnes: the Man Booker laureate’s not afraid of difficult premises. In his 13th novel, a college student named Paul spends a lazy summer at a tennis club, where he meets a middle-aged woman with two daughters around his age. Soon enough, the two are having an affair, and a flash-forward to a much-older Paul makes clear it upended their lives. (Thom) How to Be Safe by Tom McCallister: This novel, by the author of The Young Widower’s Handbook, is billed as We Need to Talk About Kevin meets Dept. of Speculation—those are two of my favorite books! Also? Tom McCallister…is a man! Although high school English teacher Anna Crawford is quickly exonerated after being named a suspect in a campus shooting, she nevertheless suffers intense scrutiny in the wake of the tragedy. As the jacket copy says, “Anna decides to wholeheartedly reject the culpability she’s somehow been assigned, and the rampant sexism that comes with it, both in person and online.” Of the book, novelist Amber Sparks writes, “It’s so wonderful—so furious and so funny and urgent and needed in this mad ugly space we’re sharing with each other.” Author Wiley Cash calls McCallister “an exceptionally talented novelist.” (Edan) Property by Lionel Shriver: This one comes with baggage--the first collection of short fiction by the author of the electrifying We Need to Talk about Kevin, but also Shriver's first published offering since she aired ill-considered views on cultural appropriation at the Brisbane Writer's Festival and later in the pages of The New York Times, impelling many thoughtful responses, like this op-ed by Kaitlyn Greenidge, or this essay by Viet Thanh Nguyen, or this conversation between Rivka Galchen and Anna Holmes, or this recent essay by Kirstin Chen. As for the new book, Kirkus calls the opening novella "stellar," but regrets that "in recent years, Shriver has become something of a scold in both her essays and fiction about what she sees as our overly sensitive, gumption-impaired society, and a handful of these stories are effectively chastising op-eds." (Lydia)
Settle in, folks, because this is one the longest first-half previews we've run in a long while. Putting this together is a labor of love, and while a huge crop of great spring books increases the labor, it also means there is more here for readers to love. We'd never claim to be comprehensive—we know there are far more excellent books on the horizon than one list can hold, which is why we've started doing monthly previews in addition to the semi-annual lists (and look out for the January Poetry Preview, which drops tomorrow). But we feel confident we've put together a fantastic selection of (almost 100!) works of fiction, memoir, and essay to enliven your January through June 2018. What's in here? New fiction by giants like Michael Ondaatje, Helen DeWitt, Lynne Tillman, and John Edgar Wideman. Essays from Zadie Smith, Marilynne Robinson, and Leslie Jamison. Exciting debuts from Nafkote Tamirat, Tommy Orange, and Lillian Li. Thrilling translated work from Leïla Slimani and Clarice Lispector. A new Rachel Kushner. A new Rachel Cusk. The last Denis Johnson. The last William Trevor. The long-awaited Vikram Seth. As Millions founder and publisher C. Max Magee wrote recently, you can help ensure that these previews, and all our great books coverage, continue for years to come by lending your support to the site as a member. The Millions has been running for nearly 15 years on a wing and a prayer, and we're incredibly grateful for the love of our recurring readers and current members who help us sustain the work that we do. So don your specs, clear off your TBR surfaces, and prepare for a year that, if nothing else, will be full of good books. JANUARY The Perfect Nanny by Leïla Slimani (translated by Sam Taylor): In her Goncourt Prize-winning novel, Slimani gets the bad news out of the way early—on the first page to be exact: “The baby is dead. It only took a few seconds. The doctor said he didn’t suffer. The broken body, surrounded by toys, was put inside a gray bag, which they zipped up.” Translated from the French by Sam Taylor as The Perfect Nanny—the original title was Chanson Douce, or Lullaby—this taut story about an upper-class couple and the woman they hire to watch their child tells of good help gone bad. (Matt) Halsey Street by Naima Coster: Coster’s debut novel is set in Bedford-Stuyvesant, a rapidly gentrifying corner of Brooklyn. When Penelope Grand leaves a failed art career in Pittsburgh and comes home to Brooklyn to look after her father, she finds her old neighborhood changed beyond recognition. The narrative shifts between Penelope and her mother, Mirella, who abandoned the family to move to the Dominican Republic and longs for reconciliation. A meditation on family, love, gentrification, and home. (Emily) Fire Sermon by Jamie Quatro: Five years after her story collection, I Want to Show You More, drew raves from The New Yorker’s James Wood and Dwight Garner at The New York Times, Quatro delivers her debut novel, which follows a married woman’s struggle to reconcile a passionate affair with her fierce attachment to her husband and two children. “It’s among the most beautiful books I’ve ever read about longing—for beauty, for sex, for God, for a coherent life,” says Garth Greenwell, author of What Belongs to You. (Michael) The Largesse of the Sea Maiden by Denis Johnson: Johnson’s writing has always had an antiphonal quality to it—the call and response of a man and his conscience, perhaps. In these stories, a dependably motley crew of Johnson protagonists find themselves forced to take stock as mortality comes calling. The writing has a more plangent tone than Angels and Jesus’ Son, yet is every bit as edgy. Never afraid to look into the abyss, and never cute about it, Johnson will be missed. Gratefully, sentences like the following, his sentences, will never go away: “How often will you witness a woman kissing an amputation?” R.I.P. (Il’ja) A Girl in Exile by Ismail Kadare (translated by John Hodgson): Kadare structures the novel like a psychological detective yarn, but one with some serious existential heft. The story is set physically in Communist Albania in the darkest hours of totalitarian rule, but the action takes place entirely in the head and life of a typically awful Kadare protagonist—Rudian Stefa, a writer. When a young woman from a remote province ends up dead with a provocatively signed copy of Stefa’s latest book in her possession, it’s time for State Security to get involved. A strong study of the ease and banality of human duplicity. (Il’ja) Frankenstein in Baghdad by Ahmed Saadawi (translated by Jonathan Wright): The long-awaited English translation of the winner of the International Prize for Arabic Fiction in 2014 gives American readers the opportunity to read Saadawi’s haunting, bleak, and darkly comic take on Iraqi life in 2008. Or, as Saadawi himself put it in interview for Arab Lit, he set out to write “the fictional representation of the process of everyone killing everyone.” (Check out Saadawi's Year in Reading here.) (Nick M.) This Will Be My Undoing by Morgan Jerkins: Wünderkind Jerkins has a background in 19th-century Russian lit and postwar Japanese lit, speaks six languages, works/has worked as editor and assistant literary agent; she writes across many genres—reportage, personal essays, fiction, profiles, interviews, literary criticism, and sports and pop culture pieces; and now we’ll be seeing her first book, an essay collection. From the publisher: “This is a book about black women, but it’s necessary reading for all Americans.” The collected essays will cover topics ranging from “Rachel Dolezal; the stigma of therapy; her complex relationship with her own physical body; the pain of dating when men say they don’t ‘see color’; being a black visitor in Russia; the specter of ‘the fast-tailed girl’ and the paradox of black female sexuality; or disabled black women in the context of the ‘Black Girl Magic’ movement.” (Sonya) Mouths Don’t Speak by Katia D. Ulysse: In Drifting, Ulysse’s 2014 story collection, Haitian immigrants struggle through New York City after the 2010 earthquake that destroyed much of their county. In her debut novel, Ulysse revisits that disaster with a clearer and sharper focus. Jacqueline Florestant is mourning her parents, presumed dead after the earthquake, while her ex-Marine husband cares for their young daughter. But the expected losses aren’t the most serious, and a trip to freshly-wounded Haiti exposes the way tragedy follows class lines as well as family ones. (Kaulie) The Sky Is Yours by Chandler Klang Smith: Smith’s The Sky Is Yours, is a blockbuster of major label debuts. The dystopic inventiveness of this genre hybrid sci-fi thriller/coming of age tale/adventure novel has garnered comparisons to Gary Shteyngart, David Mitchell and Ridley Scott’s Blade Runner. And did I mention? It has dragons, too, circling the crumbling Empire Island, and with them a fire problem (of course), and features a reality TV star from a show called Late Capitalism's Royalty. Victor LaValle calls The Sky Is Yours "a raucous, inventive gem of a debut." Don't just take our word for it, listen to an audio excerpt. (Anne) Everything Here Is Beautiful by Mira T. Lee: Spanning cultures and continents, Lee’s assured debut novel tells the story of two sisters who are bound together and driven apart by the inescapable bonds of family. Miranda is the sensible one, thrust into the role of protector of Lucia, seven years younger, head-strong, and headed for trouble. Their mother emigrated from China to the U.S. after the death of their father, and as the novel unfurls in clear, accessible prose, we follow the sisters on journeys that cover thousands of miles and take us into the deepest recesses of the human heart. Despite its sunny title, this novel never flinches from big and dark issues, including interracial love, mental illness and its treatment, and the dislocations of immigrant life. (Bill) The Infinite Future by Tim Wirkus: I read this brilliant puzzle-of-a-book last March and I still think about it regularly! The Infinite Future follows a struggling writer, a librarian, and a Mormon historian excommunicated from the church on their search for a reclusive Brazilian science fiction writer. In a starred review, Book Page compares Wirkus to Jonathan Lethem and Ron Currie Jr., and says the book “announces Wirkus as one of the most exciting novelists of his generation.” I agree. (Edan) The Job of the Wasp by Colin Winnette: With Winnette’s fourth novel he proves he’s adept at re-appropriating genre conventions in intriguing ways. His previous book, Haint’s Stay, is a Western tale jimmyrigged for its own purposes and is at turns both surreal and humorous. Winnette's latest, The Job of the Wasp, takes on the Gothic ghost novel and is set in the potentially creepiest of places—an isolated boarding school for orphaned boys, in the vein of Robert Walser’s Jakob von Gunten, Jenny Erpenbeck’s The Old Child, or even Charles Dickens’s Oliver Twist. “Witty and grisly” according to Kelly Link, strange and creepy, Job of the Wasp reveals Winnette's "natural talent" says Patrick deWitt. (Anne) Brass by Xhenet Aliu: In what Publishers Weekly calls a "striking first novel," a daughter searches for answers about the relationship between her parents, a diner waitress from Waterbury, Conn. and a line cook who emigrated from Albania. Aliu writes a story of love, family, and the search for an origin story, set against the decaying backdrop of a post-industrial town. In a starred review, Kirkus writes "Aliu’s riveting, sensitive work shines with warmth, clarity, and a generosity of spirit." (Lydia) The Immortalists by Chloe Benjamin: Four adolescent sibling in 1960s New York City sneak out to see a psychic, who tells each of them the exact date they will die. They take this information with a grain of salt, and keep it from each other, but Benjamin’s novel follows them through the succeeding decades, as their lives alternately intertwine and drift apart, examining how the possible knowledge of their impending death affects how they live. I’m going to break my no-novels-about-New-Yorkers rule for this one. (Janet) King Zeno by Nathaniel Rich: This historical thriller features an ax-wielding psychopath wreaking havoc in the city of Sazeracs. It’s been eight years since Rich moved to New Orleans, and in that time, he’s been a keen observer, filing pieces on the city’s storied history and changing identity for various publications, not least of all The New York Review of Books. He’s certainly paid his dues, which is vitally important since the Big Easy is an historically difficult city for outsiders to nail without resorting to distracting tokenism (a pelican ate my beignet in the Ninth Ward). Fortunately, Rich is better than that. (Nick M.) The Monk of Mokha by Dave Eggers: Eggers returns to his person-centered reportage with an account of a Yemeni-American man named Mokhtar Alkhanshali's efforts to revive the Yemeni tradition of coffee production just when war is brewing. A starred Kirkus review calls Eggers's latest "a most improbable and uplifting success story." (Lydia) In Every Moment We Are Still Alive by Tom Malmquist (translated by Henning Koch): A hit novel by a Swedish poet brought to English-reading audiences by Melville House. This autobiographical novel tells the story of a poet whose girlfriend leaves the world just as their daughter is coming into it--succumbing suddenly to undiagnosed leukemia at 33 weeks. A work of autofiction about grief and survival that Publisher's Weekly calls a "beautiful, raw meditation on earth-shattering personal loss." (Lydia) Peculiar Ground by Lucy Hughes-Hallett: The award-winning British historian (The Pike: Gabriele D'Annunzio, Poet, Seducer and Preacher of War) makes her fiction debut. Narrated by multiple characters, the historical novel spans three centuries and explores the very timely theme of immigration. Walls are erected and cause unforeseen consequences for both the present and futurey. In its starred review, Kirkus said the novel was "stunning for both its historical sweep and its elegant prose." (Carolyn) Neon in Daylight by Hermione Hoby: A novel about art, loneliness, sex, and restless city life set against the backdrop of Hurricane Sandy-era New York, Neon in Daylight follows a young, adrift English catsitter as she explores the galleries of New York and develops an infatuation with a successful writer and his daughter, a barista and sex-worker. The great Ann Patchett called Hoby "a writer of extreme intelligence, insight, style and beauty." (Lydia) This Could Hurt by Jillian Medoff: Medoff works a double shift: when she isn’t writing novels, she’s working as a management consultant, which means, as her official bio explains, “that she uses phrases like ‘driving behavior’ and ‘increasing ROI’ without irony.” In her fourth novel, she turns her attention to a milieu she knows very well, the strange and singular world of corporate America: five colleagues in a corporate HR department struggle to find their footing amidst the upheaval and uncertainty of the 2008-2009 economic collapse. (Emily) The Afterlives by Thomas Pierce: Pierce’s first novel is a fascinating and beautifully rendered meditation on ghosts, technology, marriage, and the afterlife. In a near-future world where holograms are beginning to proliferate in every aspect of daily life, a man dies—for a few minutes, from a heart attack, before he’s revived—returns with no memory of his time away, and becomes obsessed with mortality and the afterlife. In a world increasingly populated by holograms, what does it mean to “see a ghost?” What if there’s no afterlife? On the other hand, what if there is an afterlife, and what if the afterlife has an afterlife? (Emily) Grist Mill Road by Christopher J. Yates: The follow-up novel by the author of Black Chalk, an NPR Best of the Year selection. Yates's latest "Rashomon-style" literary thriller follows a group of friends up the Hudson, where they are involved in a terrible crime. "I Know What You Did Last Summer"-style, they reconvene years later, with dire consequences. The novel receives the coveted Tana French endorsement: she calls it "darkly, intricately layered, full of pitfalls and switchbacks, smart and funny and moving and merciless." (Lydia) FEBRUARY The Friend by Sigrid Nunez: In her latest novel, Nunez (a Year in Reading alum) ruminates on loss, art, and the unlikely—but necessary—bonds between man and dog. After the suicide of her best friend and mentor, an unnamed, middle-aged writing professor is left Apollo, his beloved, aging Great Dane. Publishers Weekly says the “elegant novel” reflects “the way that, especially in grief, the past is often more vibrant than the present.” (Carolyn) Feel Free by Zadie Smith: In her forthcoming essay collection, Smith provides a critical look at contemporary topics, including art, film, politics, and pop-culture. Feel Free includes many essays previously published in The New Yorker and The New York Review of Books and it is divided into five sections: In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free. Andrew Solomon described the collection as “a tonic that will help the reader reengage with life.” (Zoë) What Are We Doing Here? by Marilynne Robinson: One of my favorite literary discoveries of 2017 was that there are two camps of Robinson fans. Are you more Housekeeping or Gilead? To be clear, all of us Housekeeping people claim to have loved her work before the Pulitzer committee agreed. But this new book is a collection of essays where Robinson explores the modern political climate and the mysteries of faith, including, "theological, political, and contemporary themes." Given that the essays come from Robinson's incisive mind, I think there will be more than enough to keep both camps happy. (Claire) An American Marriage by Tayari Jones: In our greatest tragedies, there is the feeling of no escape—and when the storytelling is just right, we feel consumed by the heartbreak. In Jones’s powerful new novel, Celestial and Roy are a married couple with optimism for their future. Early in the book, Jones offers a revelation about Roy’s family, but that secret is nothing compared to what happens next: Roy is arrested for a crime he didn’t commit, and sentenced to over a decade in prison. An American Marriage arrives in the pained, authentic voices of Celestial, Roy, and Andre—Celestial’s longtime friend who moves into the space left by Roy’s absence. Life, and love, must go on. When the couple writes “I am innocent” to each other in consecutive letters, we weep for their world—but Jones makes sure that we can’t look away. (Nick R.) The Strange Bird by Jeff VanderMeer: Nothing is what it seems in VanderMeer’s fiction: bears fly, lab-generated protoplasm shapeshifts, and magic undoes science. In this expansion of his acclaimed novel Borne, which largely focused on terrestrial creatures scavenging a post-collapse wasteland, VanderMeer turns his attention upward. Up in the sky, things look a bit different. (Check out his prodigious Year in Reading here.) (Nick M.) House of Impossible Beauties by Joseph Cassara: First made famous in the documentary Paris Is Burning, New York City’s House of Xtravaganza is now getting a literary treatment in Cassara’s debut novel—one that’s already drawing comparisons to Hanya Yanagihara’s A Little Life. The story follows teenage Angel, a young drag queen just coming into her own, as she falls in love, founds her own house and becomes the center of a vibrant—and troubled—community. Critics call it “fierce, tender, and heartbreaking.” (Kaulie) Freshwater by Akwaeke Emezi: A surreal, metaphysical debut novel dealing with myth, mental health, and fractured selves centering around Ada, a woman from southern Nigeria "born with one foot on the other side." She attends college in the U.S., where several internal voices emerge to pull her this way and that. Library Journal calls this "a gorgeous, unsettling look into the human psyche." (Lydia) Red Clocks by Leni Zumas: The latest novel from the author of The Listeners follows five women of different station in a small town in Oregon in a U.S. where abortion and IVF have been banned and embryos have been endowed with all the rights of people. A glimpse at the world some of our current lawmakers would like to usher in, one that Maggie Nelson calls "mordant, political, poetic, alarming, and inspiring--not to mention a way forward for fiction now." (Lydia) Heart Berries by Terese Mailhot: In her debut memoir, Mailhot—raised on the Seabird Island Indian Reservation in southwestern Canada, presently a postdoctoral fellow at Purdue—grapples with a dual diagnosis of PTSD and Bipolar II disorder, and with the complicated legacy of a dysfunctional family. Sherman Alexie has hailed this book as “an epic take—an Iliad for the indigenous.” (Emily) Asymmetry by Lisa Halliday: 2017 Whiting Award winner Halliday has written a novel interweaving the lives of a young American editor and a Kurdistan-bound Iraqi-American man stuck in an immigration holding room in Heathrow airport. Louise Erdrich calls this "a novel of deceptive lightness and a sort of melancholy joy." (Lydia) Back Talk by Danielle Lazarin: long live the short story, as long as writers like Lazarin are here to keep the form fresh. The collection begins with “Appetite,” narrated by nearly 16-year-old Claudia, whose mother died of lung cancer. She might seem all grown up, but “I am still afraid of pain—for myself, for all of us.” Lazarin brings us back to a time when story collections were adventures in radical empathy: discrete panels of pained lives, of which we are offered chiseled glimpses. Even in swift tales like “Window Guards,” Lazarin has a finely-tuned sense of pacing and presence: “The first time Owen shows me the photograph of the ghost dog, I don’t believe it.” Short stories are like sideways glances or overheard whispers that become more, and Lazarin makes us believe there’s worth in stories that we can steal moments to experience. (Nick R.) The Château by Paul Goldberg: In Goldberg’s debut novel, The Yid, the irrepressible members of a Yiddish acting troupe stage manages a plot to assassinate Joseph Stalin in hopes of averting a deadly Jewish pogrom. In his second novel, the stakes are somewhat lower: a heated election for control of a Florida condo board. Kirkus writes that Goldberg’s latest “confirms his status as one of Jewish fiction's liveliest new voices, walking in the shoes of such deadpan provocateurs as Mordecai Richler and Stanley Elkin.” (Matt) The Line Becomes a River by Francisco Cantú: A memoir by a Whiting Award-winner who served as a U.S. border patrol agent. Descended from Mexican immigrants, Cantú spends four years in the border patrol before leaving for civilian life. His book documents his work at the border, and his subsequent quest to discover what happened to a vanished immigrant friend. (Lydia) Call Me Zebra by Azareen Van der Vliet Oloomi: If the driving force of Van der Vliet Oloomi's first novel, Fra Keeler, was "pushing narrative to its limits" through unbuilding and decomposition, her second novel, Call Me Zebra, promises to do the same through a madcap and darkly humorous journey of retracing the past to build anew. Bibi Abbas Abbas Hossein is last in a line of autodidacts, anarchists, and atheists, whose family left Iran by way of Spain when she was a child. The book follows Bibi in present day as she returns to Barcelona from the U.S., renames herself Zebra and falls in love. Van der Vliet Oloomi pays homage to a quixotic mix of influences—including Miguel de Cervantes, Jorge Luis Borges, and Kathy Acker—in Call Me Zebra, which Kirkus calls "a brilliant, demented, and bizarro book that demands and rewards all the attention a reader might dare to give it." (Anne) Some Hell by Patrick Nathan: A man commits suicide, leaving his wife, daughter, and two sons reckoning with their loss. Focused on the twinned narratives of Colin, a middle schooler coming to terms with his sexuality, as well as Diane, his mother who’s trying to mend her fractured family, Nathan’s debut novel explores the various ways we cope with maturity, parenting, and heartbreak. (Read Nathan's Year in Reading here.) (Nick M.) The Wedding Date by Jasmine Guillory: If 2017 was any indication, events in 2018 will try the soul. Some readers like to find escape from uncertain times with dour dystopian prognostications or strained family stories (and there are plenty). But what about something fun? Something with sex (and maybe, eventually, love). Something Roxane Gay called a "charming, warm, sexy gem of a novel....One of the best books I've read in a while." Something so fun and sexy it earned its author a two-book deal (look out for the next book, The Proposal, this fall). Wouldn't it feel good to feel good again? (Lydia) MARCH The Census by Jesse Ball: Novelist Ball's nimble writing embodies the lightness and quickness that Calvino prized (quite literally, too: he pens his novels in a mad dash of days to weeks). And he is prolific, too. Since his previous novel, How to Start a Fire and Why, he has has written about the practice of lucid dreaming and his unique form of pedagogy, as well as a delightfully morbid compendium of Henry King’s deaths, with Brian Evenson. Ball's seventh novel, The Census, tells the story of a dying doctor and his concern regarding who will care for his son with Down Syndrome, as they set off together on a cross-country journey. (Anne) Men and Apparitions by Lynne Tillman: News of a new Tillman novel is worthy of raising a glass. Men and Apparitions is the follow-up novel to Tillman's brilliant, ambitious American Genius: A Comedy. Men and Apparitions looks closely at our obsession with the image through the perspective of cultural anthropologist Ezekiel "Zeke" Hooper Stark. Norman Rush says, "this book is compelling and bracing and you read many sentences twice to get all the juice there is in them.” Sarah Manguso has said she is "grateful" for Tillman's "authentically weird and often indescribable books." I second that. (Anne) Whiskey & Ribbons by Leesa Cross-Smith: Police officer Eamon Michael Royce is killed in the line of duty. His pregnant wife, Evi, narrates Eamon’s passing with elegiac words: “I think of him making the drive, the gentle peachy July morning light illuminating his last moments, his last heartbeat, his last breath.” Months later and wracked with grief, Evi falls for her brother-in-law Dalton: “Backyard-wandering, full-moon pregnant in my turquoise maternity dress and tobacco-colored cowboy boots. I’d lose my way. Dalton would find me. He was always finding me.” The sentences in Cross-Smith’s moving debut are lifted by a sense of awe and mystery—a style attuned to the graces of this world. Whiskey & Ribbons turns backward and forward in time: we hear Eamon’s anxieties about fatherhood, and Dalton’s continuous search for meaning in his life. “I am always hot, like I’m on fire,” Evi dreams later in the novel, still reliving her husband’s death, “burning and gasping for air.” In Cross-Smith’s novel, the past is never forgotten. (Nick R.) The Emissary by Yoko Tawada (translated by Margaret Mitsutani): In a New Yorker essay on Tawada, author of Memoirs of a Polar Bear, Riva Galchen wrote that “often in [her] work, one has the feeling of having wandered into a mythology that is not one’s own.” Tawada’s latest disorienting mythology is set in a Japan ravaged by a catastrophe. If children are the future, what does it presage that, post-disaster, they are emerging from the womb as frail, aged creatures blessed with an uncanny wisdom? (Read her Year in Reading here.) (Matt) The Sparsholt Affair by Alan Hollinghurst: Hollinghurst’s sixth novel has already received glowing reviews in the U.K. As the title suggests, the plot hinges on a love affair, and follows two generations of the Sparsholt family, opening in 1940 at Oxford, just before WWII. The Guardian called it “an unashamedly readable novel...indeed it feels occasionally like Hollinghurst is trying to house all the successful elements of his previous books under the roof of one novel.” To those of us who adore his books, this sounds heavenly. (Hannah) The Chandelier by Clarice Lispector (translated by Magdalena Edwards and Benjamin Moser): Since Katrina Dodson published a translation of Lispector’s complete stories in 2015, the Brazilian master's popularity has enjoyed a resurgence. Magdalena Edwards and Benjamin Moser’s new translation of Lispector’s second novel promises to extend interest in the deceased writer’s work. It tells the story of Virginia, a sculptor who crafts intricate pieces in marked isolation. This translation marks the first time The Chandelier has ever appeared in English (Ismail). The Parking Lot Attendant by Nafkote Tamirat: It's very easy to love this novel but difficult to describe it. A disarming narrator begins her account from a community with strange rules and obscure ideology located on an unnamed island. While she and her father uneasily bide their time in this not-quite-utopia, she reflects on her upbringing in Boston, and a friendship--with the self-styled leader of the city's community of Ethiopian immigrants--that begins to feel sinister. As the story unfolds, what initially looked like a growing-up story in a semi-comic key becomes a troubling allegory of self-determination and sacrifice. (Lydia) Let's No One Get Hurt by Jon Pineda: A fifteen-year-old girl named Pearl lives in squalor in a southern swamp with her father and two other men, scavenging for food and getting by any way they can. She meets a rich neighbor boy and starts a relationship, eventually learning that his family holds Pearl's fate in their hands. Publisher's Weekly called it "an evocative novel about the cruelty of children and the costs of poverty in the contemporary South." (Lydia) The Merry Spinster by Mallory Ortberg: Fairy tales get a feminist spin in this short story collection inspired by Ortberg's most popular Toast column, "Children's Stories Made Horrific." This is not your childhood Cinderella, but one with psychological horror and Ortberg's signature snark. Carmen Maria Machado calls it a cross between, "Terry Pratchett’s satirical jocularity and Angela Carter’s sinister, shrewd storytelling, and the result is gorgeous, unsettling, splenic, cruel, and wickedly smart." Can't wait to ruin our favorite fables! (Tess) The House of Broken Angels by Luis Alberto Urrea: Urrea is one of the best public speakers I’ve ever seen with my 35-year-old eyes, so it’s incredible that it’s not even the thing he’s best at. He’s the recipient of an American Book Award and a Pulitzer nominee for The Devil’s Highway. His new novel is about the daily life of a multi-generational Mexican-American family in California. Or as he puts it, “an American family—one that happens to speak Spanish and admire the Virgin of Guadalupe.” (Janet) Speak No Evil by Uzodinma Iweala: Nearly 15 years after his critically-acclaimed debut novel, Beasts of No Nation, was published, Iweala is back with a story as deeply troubling. Teenagers Niru and Meredith are best friends who come from very different backgrounds. When Niru’s secret is accidentally revealed (he’s queer), there is unimaginable and unspeakable consequences for both teens. Publishers Weekly’s starred review says the “staggering sophomore novel” is “notable both for the raw force of Iweala’s prose and the moving, powerful story.” (Carolyn) American Histories: Stories by John Edgar Wideman: Wideman’s new book is a nearly fantastical stretching and blurring of conventional literary forms—including history, fiction, philosophy, biography, and deeply felt personal vignettes. We get reimagined conversations between the abolitionist Frederick Douglass and the doomed white crusader for racial equality John Brown. We get to crawl inside the mind of a man sitting on the Williamsburg Bridge, ready to jump. We get Wideman pondering deaths in his own family. We meet Jean Michel Basquiat and Nat Turner. What we get, in the end, is a book unlike any other, the work of an American master working at peak form late in a long and magnificent career. (Bill) Happiness by Aminatta Forna: A novel about what happens when an expert on the habits of foxes and an expert on the trauma of refugees meet in London, one that Paul Yoon raved about it in his Year in Reading: "It is a novel that carries a tremendous sense of the world, where I looked up upon finishing and sensed a shift in what I thought I knew, what I wanted to know. What a gift." In a starred review, Publisher's Weekly says "Forna's latest explores instinct, resilience, and the complexity of human coexistence, reaffirming her reputation for exceptional ability and perspective." (Lydia) The Neighborhood by Mario Vargas Llosa (translated by Edith Grossman): The Nobel Prize winner's latest arrives in translation from the extraordinary Edith Grossman. The Neighborhood is symphonic, a “thriller,” if you can call it that, about a detective whose wife gets roped into a debilitating situation. It is set in Llosa’s 1990s Peru, and you see this place with its paradox of grayness and color, juxtaposed with spots of blood. Two women married to very affluent men are having a lesbian affair, and one of their husbands, Enrique, is being blackmailed. When he fails to meet a photo magazine editor’s demands, he is slandered with photos of an erotic encounter on the front pages of the magazine. These two threads will converge at a point of explosion as is wont with Llosa’s novels. While this may not be his best work, it will keep readers reading all the way. (Chigozie) My Dead Parents by Anya Yurchyshyn: Sometimes truth is more fascinating than fiction. Such is the case with Yurchyshyn's My Dead Parents, which started as an anonymous Tumblr blog where the author posted photos and slivers of her parents' correspondences in an attempt to piece together the mystery of their lives. Yurchyshyn's father was a banker who died in Ukraine in a car "accident" that was possibly a hit when she was 16, and years later, though not many, her mother succumbed to alcoholism. Her parents made an enviously handsome couple, but they lived out Leo Tolstoy’s adage of each family being unhappy in its own way. Yurchyshyn's tale is one of curiosity and discovery; it's also an inquiry into grief and numbness. Her Buzzfeed essay, "How I Met My Dead Parents," provides an apt introduction. (Anne) The Last Watchman of Old Cairo by Michael David Lukas: Year in Reading alum and author of The Oracle of Stamboul explores the history of Cairo's Ben Ezra Synagogue (site of the famous Cairo Geniza document trove discovered in the nineteenth century) through the story of its generations of Muslim watchmen as gleaned by their modern-day, Berkeley-dwelling scion. Rabih Alameddine calls it "a beautiful, richly textured novel, ambitious and delicately crafted...a joy." (Lydia) Bury What We Cannot Take by Kirstin Chen: This is an atmospheric novel of betrayal and ardent allegiance to ideology and political choices. When young Ah Liam decides it’s virtuous to report the resistance of his grandmother to Maoist rule to the authorities, he unravels his family with his own hands. His decision leads to the family having to flee the country and for them to have to make a decision: leave a fraction of the family behind or face greater harm. With its striking title about the sacrifice (the “burying”) of those who are left behind, the novel succeeds in drawing a very striking portrait of this turbulent period of Chinese history. (Chigozie) Memento Park by Mark Sarvas: Many of us who have been with The Millions for some years surely remember Sarvas’s pioneer lit blog, The Elegant Variation—and look forward to his second novel, Memento Park, 10 years after his critically acclaimed Harry, Revised. Memento Park is about art, history, Jewishness, fathers and sons: Joseph O’Neill writes pithily, “A thrilling, ceaselessly intelligent investigation into the crime known as history.” So far, Kirkus praises Sarvas for “skillful prose and well-drawn characters.” (Sonya) Wrestling with the Devil by Ngũgĩ wa Thiong'o: Famously, Kenyan author Ngugi wrote his Gikuyu novel Devil on the Cross while serving out a prison sentence. (And he did it on toilet paper, no less.) Now, the writer whom Chimamanda Adichie calls “one of the greatest of our time” is releasing a memoir of his prison stay, begun a half-hour before he was finally released. Taking the form of an extended flashback, the memoir begins at the moment of the author’s arrest and ends, a year later, when he left prison with a novel draft. (Thom) Stray City by Chelsey Johnson: Twenty-something artist Andrea ran away from the Midwest to Portland to escape the expectation to be a mother and create a life for herself as a queer artist. Then, confused and hurt by a break-up, she hooked up with a man—and ended up having his child. Chelsey Johnson’s debut novel, which comes after a successful run of short stories like the Ploughshares Solo “Escape and Reverse,” is a humorous and heartfelt exploration of sexual identity and unconventional families. (Ismail) APRIL The Female Persuasion by Meg Wolitzer: Wolitzer is one of those rare novelists who is able to capture the zeitgeist. Her follow up to The Interestings, The Female Persuasion centers around Greer Kadetsky, who is a freshman in college when she meets Faith Frank, an inspiring feminist icon who ignites Greer's passions. After graduation, Greer lands a job at Frank's foundation and things get real. Wolitzer is a master weaver of story lines and in this novel she brings four together as the characters search for purpose in life and love. As the starred review in Publisher's Weekly says, this novel explores, "what it is to both embrace womanhood and suffer because of it." Amen sister. (Claire) The Recovering by Leslie Jamison: The bestselling author of The Empathy Exams brings us The Recovering, which explores addiction and recovery in America, in particular the stories we tell ourselves about addiction. Jamison also examines the relationship many well-known writers and artists had with addiction, including Amy Winehouse, Billie Holiday, Raymond Carver, David Foster Wallace, and more. The Recovering has received advance praise from Stephen King, Vivian Gornick, and Anne Fadiman. Chris Kraus described the The Recovering as “a courageous and brilliant example of what nonfiction writing can do.” (Zoë) Circe by Madeline Miller: It took Miller 10 years to write her Orange Prize-winning debut novel, The Song of Achilles. Happily, we only had to wait another five for Circe, even more impressive when one considers that the novel’s story covers millennia. Here Miller again invokes the classical world and a massive cast of gods, nymphs, and mortals, but it’s all seen through the knowing eyes of Circe, the sea-witch who captures Odysseus and turns men into monsters. (Kaulie) America Is Not the Heart by Elaine Castillo: As we enter year two of the Donald Trump presidency, Castillo’s first novel challenges readers to look beyond the headlines to grasp the human dimension of America’s lure to immigrants in this big-hearted family saga about three generations of Filipina women who struggle to reconcile the lives they left behind in the Philippines with the ones they are making for themselves in the American suburbs. (Michael) You Think It, I’ll Say It by Curtis Sittenfeld: Is Sittenfeld a serious literary novelist who dabbles in chick lit? Is she a writer of frothy beach reads who happens to have an MFA from Iowa? Do such distinctions still have any meaning in today’s fiction market? Readers can decide for themselves when Sittenfeld publishes her first story collection, after five novels that have ranged from her smash debut Prep to American Wife, her critically acclaimed “fictional biography” of former First Lady Laura Bush. (Michael) Varina by Charles Frazier: Returning to the setting of his NBA winning Cold Mountain, Frazier taps into the American Civil War, specifically the life of Varina Howell Davis, the teenage bride of Jefferson Davis, president of the Confederacy. In this personal tragedy set in an epic period of American history, Frazier examines how “being on the wrong side of history carries consequences” regardless of one’s personal degree of involvement in the offense. Something to think about. (Il’ja) Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean: You’ve been reading Dean’s reviews and journalism for some time at The Nation, The Guardian, Buzzfeed, The New Yorker, Slate, Salon The New Republic, et alia. Winner of the 2016 NBCC's Nona Balakian Citation for Excellence in Reviewing, Dean is debuting her first book with apt timing: Sharp features intertwining depictions of our most important 20th-century female essayists and cultural critics—Susan Sontag, Dorothy Parker, Hannah Arendt, Pauline Kael, Rebecca West, Janet Malcolm, Joan Didion, and others. A hybrid of biography, literary criticism, and cultural history, Sharp has been praised and starred by PW as “stunning and highly accessible introduction to a group of important writers.” (Sonya) How to Write an Autobiographical Novel by Alexander Chee: In addition to receiving a starred review—and being named a Top 10 Essay Collection of Spring 2018—by Publishers Weekly, Chee’s essay collection explores a myriad of topics that include identity, the AIDS crisis, Trump, tarot, bookselling, art, activism, and more. Ocean Vuong described the book as “life's wisdom—its hurts, joys and redemptions—salvaged from a great fire.” (Zoë) Disoriental by Négar Djavadi (translated by Tina Kover): From the waiting room of a French fertility clinic, a young woman revisits the stories of generations of her Iranian ancestors culminating in her parents, who brought her to France when she was 10. This French hit, published in English by Europa Editions, is called "a rich, irreverent, kaleidoscopic novel of real originality and power" by Alexander Maksik. (Lydia) Heads of the Colored People by Nafissa Thompson-Spires: A debut collection of stories exploring black identity and middle-class life in so-called "post-racial" America, with storylines ranging from gun violence and depression to lighter matters like a passive-aggressive fight between the mothers of school kids. George Saunders called these stories "vivid, fast, funny, way-smart, and verbally inventive." (Lydia) Black Swans by Eve Babitz: Until last year, Babitz was an obscure writer who chronicled hedonistic Los Angeles in the 1960s and 1970s. And then Counterpoint and NYRB Classics began reissuing her memoirs and autofiction, and word of Babitz’s unique voice began to spread. In The New Yorker, Jia Tolentino wrote, “On the page, Babitz is pure pleasure—a perpetual-motion machine of no-stakes elation and champagne fizz.” Novelist Catie Disabato asserts that Babitz “isn’t the famous men she fucked or the photographs she posed in. She is the five books of memoir and fiction she left behind for young women, freshly moved to Los Angeles, to find.” Black Swans is the latest in these recent reissues. Published in 1993, these stories/essays cover everything from the AIDS crisis to learning to tango. And, of course, the Chateau Marmont. (Edan) Look Alive Out There by Sloane Crosley: Crosley, author of the New York Times bestselling essay collection I Was Told There’d Be Cake, returns with a new collection of essays. Ten years removed from her debut, Crosley takes on issues ranging from the pressures of fertility, to swingers, to confronting her own fame. Look Alive promises to be a worthwhile follow-up to Crosley’s 2011 collection How Did You Get This Number?. (Ismail) The Only Story by Julian Barnes: Give this to Barnes: the Man Booker laureate’s not afraid of difficult premises. In his 13th novel, a college student named Paul spends a lazy summer at a tennis club, where he meets a middle-aged woman with two daughters around his age. Soon enough, the two are having an affair, and a flash-forward to a much-older Paul makes clear it upended their lives. (Thom) Blue Self-Portrait by Noémi Lefebvre (translated by Sophie Lewis): In this torrential inner monologue out from Oakland publisher Transit Books, a woman reflects on music, politics and her affair with a musician, a pianist obsessed with the 1910 self-portrait painted by Arnold Schoenberg, a haunting, blue-tinted work in which the composer’s“expression promised nothing positive for the art of the future, conveyed an anxiety for the future, looked far beyond any definition of the work of art or of the future.” (Matt) How to Be Safe by Tom McCallister: This novel, by the author of The Young Widower’s Handbook, is billed as We Need to Talk About Kevin meets Dept. of Speculation—those are two of my favorite books! Also? Tom McCallister…is a man! Although high school English teacher Anna Crawford is quickly exonerated after being named a suspect in a campus shooting, she nevertheless suffers intense scrutiny in the wake of the tragedy. As the jacket copy says, “Anna decides to wholeheartedly reject the culpability she’s somehow been assigned, and the rampant sexism that comes with it, both in person and online.” Of the book, novelist Amber Sparks writes, “It’s so wonderful—so furious and so funny and urgent and needed in this mad ugly space we're sharing with each other.” Author Wiley Cash calls McCallister “an exceptionally talented novelist.” (Edan) MAY Warlight by Michael Ondaatje: From internationally acclaimed, bestselling author of The English Patient and Divisidero among his other works, this new novel from Ondaatje is set in the decade after World War II. When their parents move to Singapore, 14-year-old Nathaniel and his older sister, Rachel, are left in London under the watchful eye of a mysterious figure called The Moth. As they become immersed in his eccentric circle of friends, they are both protected and educated in confusing ways. The mystery deepens when their mother returns months later without their father, but gives them no explanation. Years later, Nathaniel begins to uncover the story through a journey of facts, recollection, and imagination. If only Anthony Minghella were still with us to make the movie. (Claire) The Mars Room by Rachel Kushner: In her third novel, two-time National Book Award-finalist Kushner writes about a woman named Romy Hall who is serving two consecutive life sentences (plus six years) in a prison in California’s Central Valley. The year is 2003, and the Mars Room in the title refers to a strip club in San Francisco where Romy used to dance; according to the jacket copy, Kushner details “the deadpan absurdities of institutional living…with humor and precision.” George Saunders calls Kushner “a young master” and Robert Stone wrote that she is “a novelist of the very first order.” Check out this short excerpt published by Entertainment Weekly. (Edan) Some Trick by Helen DeWitt: If you periodically spend afternoons sitting around wondering when you will get to read something new by DeWitt, this is your season. In May we get 13 stories from the brilliant writer who brought us The Last Samurai—one of the best books of this or any millennium—and the evilly good Lightning Rods. In this collection DeWitt will evidently apply her mordant virtuosity to territory ranging from statistics to publishing. (Lydia) Motherhood by Sheila Heti: Heti's previous two books have created and followed lines of inquiry—with Misha Glouberman she wrote a book of conversational philosophy, The Chairs Are Where People Go. Heti’s novel How Should a Person Be? is an early work of autofiction that delves deep into art-making and friendship. Some called it a literary form of reality TV, making James Wood’s backhanded assessment of the book as both “unpretentious" and “narcissistic" quite the unintentional compliment. Heti's new novel Motherhood follows in a similar line of existential questioning—the narrator approaches the topic of motherhood, asking not when but if she should endeavor to become a mother at all. (Anne) That Kind of Mother by Rumaan Alam: “Just because something is natural doesn’t mean it’s easy.” Priscilla Johnson says those words to Rebecca Stone early in Alam’s novel. Rebecca’s just given birth to her son Jacob, and the novel’s first scene feels both dizzying and precise—a visceral reminder of life’s complex surprises. Priscilla is the hospital staffer who most calms Rebecca’s anxieties, so much that she asks Priscilla to be Jacob’s nanny. A few years later, Priscilla’s own pregnancy ends in heartbreak. Rebecca’s decision to adopt Andrew is complex: she loves and misses Priscilla, and dearly loves this boy, but is she ready for the reality of raising a black son as a white mother? Alam’s sharp narrative asides—lines like “Some percentage of the things she did for the children were actually for her”—carry such weight and truth that we trust his route toward the bigger question of the book: are we ever ready for the pain and joy that life delivers us? (Nick R.) Adjustment Day by Chuck Palahniuk: Four years since publishing his last novel, Palahniuk returns in the era of fake news, obvious government corruption, and widespread despair. (It’s as though the protagonists in his most famous novels were right from the start.) In Adjustment Day, these themes weave together in the form of a mysterious day of reckoning orchestrated by an out of touch, aging group of elected officials. (Nick M.) Last Stories by William Trevor: Prior to his death in November 2016, Trevor told a friend that the book he was working on would be called Last Stories. That is this book—the last we will ever have from the Irish author. Six of the 10 stories included here have never been published before, and what preview would be sufficient? Perhaps just this: if the engine of accomplished fiction truly is empathy, then you will be hard pressed to uncover a finer practitioner of the core humanity that inspired and inspires this deliberate, and personal, epitaph. RIP. (Il’ja) MEM by Bethany Morrow In this debut novel set in a speculative past, a Montreal-based scientist discovers a way to extract memories from people, resulting in physical beings, Mems, who are forced to experience the same memory over and over. Complications ensue when one of the Mems, Dolores Extract #1, begins to make and form her own memories. (Hannah) And Now We Have Everything by Meaghan O’Connell: O’Connell’s memoir—her first book—is here to remedy the “nobody tells you what it’s really like” refrain of new mothers. Giving birth to her son in her 20s, after an unplanned pregnancy, O’Connell chronicles the seismic changes that happened to her body, routine, social life, and existential purpose before she knew what was coming. All the cool moms of literary twitter (including Edan!) are raving. (Janet) The Ensemble by Aja Gabel: A novel about art and friendship and the fraught world of accomplished musicians—four young friends who comprise a string quartet. Mat Johnson said Gabel's novel "deserves a standing ovation." For a taste of Gabel's prose, read her Best American Essays-notable piece on grief and eating ortolans in France. (Lydia) The Lost Empress by Sergio De La Pava: De La Pava’s first novel, A Naked Singularity, was the rare self-published novel to receive critical acclaim, including the PEN/Bingham Prize. The Lost Empress is as ambitious as his first, a 672-page doorstopper that takes on both football and the criminal justice system. The novel has a large cast, but centers on two characters: Nina Gill, the daughter of the owner of the Dallas Cowboys, and presumed heir to the franchise; and Nuno DeAngeles, “a brilliant criminal mastermind,” who gets himself thrown into prison in order to commit a crime. (Hannah) A Lucky Man by Jamel Brinkley: New York-bred writer Brinkley (and Year in Reading alum) delivers this anticipated debut story collection. Ranging from encounters on the New York subway to a young boy’s first encounter with the reality of racial hierarchy, these sensitive and probing stories promise to captivate. If you’ve read Brinkley’s title story “A Lucky Man” in A Public Space, then you know that he’s a talent to watch. (Ismail) Belly Up by Rita Bullwinkel: Bullwinkel’s stories are fantastic and fabulist feats that (often) address our messy, cumbersome bodies in thrilling and imaginative ways. For example: in lieu of a bra, a man is hired to support a daughter's breasts; a woman whose plastic surgeon, when fixing her eyes, leaves her with a turkey neck (not literally but); twin brothers Gleb and Oleg, surgeon and sculptor, live in a prison infirmary and perform a thumb transplant. A compelling new voice, Bullwinkel has had stories in Tin House, Guernica, and Noon. Her first book, the story collection Belly Up, will be published by A Strange Object. (Anne) The Pisces by Melissa Broder: You may know Broder because of her incredible So Sad Today tweets. If you do, you won’t be surprised to hear about her novel, The Pisces, which follows a Ph.D student in love with a Californian merman. The student, Lucy, has a breakdown after nine years of grad school, which compels her Angeleno sister to invite her to dogsit at her place. On the beach, a merman appears, and Lucy embarks on a romance that seems impossible. (Thom) JUNE Kudos by Rachel Cusk: When I first encountered Cusk's writing in the mid-aughts I wrote her off as an author of potentially tedious domestic drama. I was woefully wrong. It's true Cusk is a chronicler of the domestic: she is as known for her memoirs of motherhood and divorce as she is for her novels, but her writing is innovative, observant, and bold. The New Yorker declared that with the trilogy that her latest novel Kudos completes, Cusk has "renovated" the novel, merging fiction with oral history, retooling its structure. Cusk has said: "I’ve never treated fiction as a veil or as a thing to hide behind, which perhaps was, not a mistake exactly, but a sort of risky way to live." (Anne) A Suitable Girl by Vikram Seth: Reportedly delayed by writer’s block brought on by a breakup, Seth has finally produced the much-anticipated sequel to his international smash of 1993, A Suitable Boy. That novel, a gargantuan epic set in post-independence India in the 1950s, was a multi-family saga built around the pursuit of a suitable husband in a world of arranged marriages. In the “jump sequel,” the original protagonist is now in her 80s and on the prowl for a worthy bride for her favorite grandson. Though best-known for A Suitable Boy, the versatile Seth has produced novels, poetry, opera, a verse novel, a travel book, and a memoir. (Bill) Florida by Lauren Groff: After collecting fans like Barack Obama with her bestselling novel Fates and Furies, Groff's next book is a collection of short stories that center around Florida, "the landscape, climate, history, and state of mind." Included is "Dogs Go Wolf," the haunting story that appeared in The New Yorker earlier in the year. In a recent interview, Groff gave us the lay of the land: "The collection is a portrait of my own incredible ambivalence about the state where I've lived for twelve years...I love the disappearing natural world, the sunshine, the extraordinary and astonishing beauty of the place as passionately as I hate the heat and moisture and backward politics and the million creatures whose only wish is to kill you." (Claire) There There by Tommy Orange: Set in Oakland, Orange's novel describes the disparate lives that come together for the Oakland Powwow and what happens to them when they get there. In an extraordinary endorsement, Sherman Alexie writes that Orange's novel "is truly the first book to capture what it means to be an urban Indian—perhaps the first novel ever to celebrate and honor and elevate the joys and losses of urban Indians. You might think I'm exaggerating but this book is so revolutionary—evolutionary—that Native American literature will never be the same." (Lydia) Upstate by James Wood: It’s been 15 years since Woods’s first novel, The Book Against God, was published. What was Woods doing in the meantime? Oh, just influencing a generation of novelists from his perch at The New Yorker, where his dissecting reviews also functioned as miniature writing seminars. He also penned a writing manual, How Fiction Works. His sophomore effort concerns the Querry family, who reunite in upstate New York to help a family member cope with depression and to pose the kinds of questions fiction answers best: How do people get through difficulty? What does it mean to be happy? How should we live our lives? (Hannah) The Great Believers by Rebecca Makkai: This third novel from the acclaimed author of The Borrower and The Hundred-Year House interlaces the story of an art gallery director whose friends are succumbing to the AIDS epidemic in 1980s Chicago with a mother struggling to find her estranged daughter 30 years later in contemporary Paris. “The Great Believers is by turns funny, harrowing, tender, devastating, and always hugely suspenseful,” says Margot Livesey, author of Mercury. (Michael) Good Trouble by Joseph O’Neill: Frequent New Yorker and Harper’s readers will know that O’Neill has been writing a lot of short fiction lately. With the new Good Trouble, the Netherland author now has a full collection, comprised of 11 off-kilter, unsettling stories. Their characters range from a would-be renter in New York who can’t get anyone to give him a reference to a poet who can’t decide whether or not to sign a petition. (Thom) Number One Chinese Restaurant by Lillian Li: A family chronicle, workplace drama, and love story rolled into one, Li's debut chronicles the universe of the Beijing Duck House restaurant of Rockville, Md., run by a family and long-time employees who intertwine in various ways when disaster strikes. Lorrie Moore raves, "her narratives are complex, mysterious, moving, and surprising." (Lydia) SICK by Porochista Khakpour: In her much anticipated memoir SICK, Khakpour chronicles her arduous experience with illness, specifically late-stage Lyme disease. She examines her efforts to receive a diagnosis and the psychological and physiological impact of being so sick for so long, including struggles with mental health and addiction. Khakpour’s memoir demonstrates the power of survival in the midst of pain and uncertainty. (Zoë) Fight No More by Lydia Millet: Millet’s 2010 collection Love in Infant Monkeys was a Pulitzer Prize finalist. Eight years later she’s released another collection of stories arranged around a real estate broker and their family as they struggle to reconnect. Millet’s satire is well-known for it’s sharp brutality—and its compassionate humanity. Both sides are on full display here. (Kaulie) Tonight I'm Someone Else by Chelsea Hodson: Examining the intersection of social media and intimacy, the commercial and the corporeal, the theme of Hodson's essay collection is how we are pushed and pulled by our desire. The Catapult teacher's debut has been called "racingly good…refreshing and welcome" by Maggie Nelson. (Tess) Invitation to a Bonfire by Adrienne Celt: On the heels of her critically praised debut, The Daughters, Celt gives us a love-triangle story that, according to the publisher, is “inspired by the infamous Nabokov marriage, with a spellbinding psychological thriller at its core.” The protagonist is a young Russian refugee named Zoya who becomes entangled with her boarding school’s visiting writer, Leo Orlov, and his imperious wife, Vera. Our own Edan Lepucki praised the novel as “a sexy, brilliant, and gripping novel about the fine line between passion and obsession. I am in awe of Celt's mastery as a prose stylist and storyteller; I can't stop thinking about this amazing book.” (Sonya) [millions_ad]
I was pregnant with my second child for most of the year and I was also working from home, which meant I was very sedentary and slothful, and able to spend a lot of time reading articles that made me miserable. And since I was working on a book, and the pace and nature of that work were utterly different from any other kind of work I’ve done, I was grumpy and anxious a lot of the time even without reading anything at all. And I worried about being miserable and anxious and grumpy, and sedentary and slothful, wondering what it would do to the fetus, and whether the fetus would want to be around someone like me. The reading I did while gestating the baby and my book was catch-as-catch-can and felt mostly like a reprieve and a cheat when I should have been working or doing something civic-minded. Books and the time they went with are blurring together for some reason. I think I read and was ruined by Housekeeping last year, but I can’t be certain it wasn’t this year. I think I read Private Citizens this year and found it spiky and perfect, but I’m not actually sure I didn’t read it in 2016. I do know this year I read The Idiot, which is among other things a delightful evocation of ostensibly fruitless but formative romantic pining, and Sport of Kings, which is absurdly ambitious and devastating. I read The Regional Office Is Under Attack, which is weird and transporting. I gratefully blew off my work for New People, The Windfall, Marlena, The Reef, Hunger, and Conversations with Friends. I read White Tears and The Changeling and Frankenstein in Baghdad on the bus to the OBGYN and marveled at the ways great writers are documenting the effects of the unholy past on the unholy present. I read 10:04 in a lovingly serene and receptive state after spending $60 to float in a very salty pool in the dark (I was trying to make the fetus turn head-down). When I was freaked out about everything the only book that sort of soothed me was the phenomenal new translation of The Odyssey, which is modern but not jarringly so, and highlights the sense of human continuity we apprehend from an ancient text. I re-read Off Course, a wonderful California novel that has become one of my favorite books in the last few years. I re-read A Suitable Boy to get ready for A Suitable Girl, which is allegedly arriving in 2018 and which I’ve been waiting for my entire adult life. I read The Golden Road, Caille Millner's gemlike memoir about growing up. I read a Word document containing the first half of Michelle Dean's excellent forthcoming literary history Sharp, and I'm clamoring for the rest of it. I read a Word document containing the entirety of Meaghan O’Connell’s forthcoming essay collection, And Now We Have Everything, and it is a stunningly insightful book that I’m hesitant to say is about motherhood because it might turn away people who might otherwise profit from it. I loved my colleagues Edan and Claire and Sonya’s novels Woman No. 17 and The Last Neanderthal and The Loved Ones, which are about motherhood (and fatherhood, and daughterhood, and a lot of other things too). More mothers: I cried over Mr. Splitfoot in an airplane after reading Samantha Hunt’s “A Love Story” in The New Yorker. The book I thought about most during my gestational period was Mathias Énard's Compass, which is a love story of a different kind. I don’t think I’ve read another book so deft in transmitting both the desire and the violence that are bound up in the production of knowledge, another complicated act of creation. In October I had the baby. I wouldn’t suggest that anyone have a baby just to shake things up, but babies have a way of returning you to your body and adjusting your relationship to time that I’d hazard is difficult to find elsewhere in the arena of positive experiences. First you have the singular experience of giving birth; then you have the physical reminders of that experience, and a baby. If you are lucky you get good hormones (if you are spectacularly lucky you get paid leave, or have a spouse who does). The morning she was born I looked at the baby lying in her bassinet and felt like the cat who swallowed the canary, or a very satisfied hen. Animal similes suggest themselves because it is an animal time: you smell blood and leave trails of it on the hospital floor; milk oozes. You feel waves of such elemental fatigue that rational thought and speech seem like fripperies for a younger species. Even now, nine weeks later, sneezing reminds me viscerally of what the flesh endured. This is what I mean when I say the experience returns you to your body. If it’s your second child, it also makes you a time traveler. I spent my first child’s infancy desperate to slow down time, to fully inhabit this utterly strange nesting season of my life and hers before we were both launched into the future. When the second baby was born I got the unhoped-for chance to live in that season again. I had forgotten so much: the comically furtive and then plucky look a newborn gets when she is near the breast, and the bizarre thing her eyes do when she's eating—zipping back and forth like a barcode scanner apprehending some ancient sequence. The sound she makes after sneezing, like a little wheeze from an oboe. Since, during this period, I felt I had a legitimate excuse to not read every dire news item for at least a couple of weeks, and since I experienced a wonderful if brief disinclination to open Twitter, and since sometimes I got to sit in clean linen sheets that are my prized possession and nurse a tiny brown-furred baby, I fell in love both with the baby and with every book I touched. I started re-reading Mating when I was waiting to give birth and finished it the week after. I read it for the first time three years ago when my older daughter was born and felt so incredibly altered by it then, and I slipped back into that state immediately. Right after Mating I read Mortals, and after Mortals, I read Chemistry, and forthcoming novels The Parking Lot Attendant and That Kind of Mother, and I loved them all too. Being with the baby and reading deeply and more or less avoiding the things that make me miserable was such an unanticipated return to Eden that even the bad things I now remembered about having a baby were good: the strange combination of agitation and dullness that enswaddled me when the sun went down and made me weep; the sudden urge to throw beloved visitors out of the house; visions of stumbling, of soft skulls crushed against sharp corners; fear of contagion; agonizing knowledge of other babies crying and drowning and suffering while your own baby snuffles contentedly in a fleece bag. But even when the blues fluoresced what registered was not the badness of the thoughts, but their intensity. The shitty hospital food you eat after expelling a baby is the best food you’ve ever had because you had a baby and you didn’t die. And like a person on drugs who knows a cigarette is going to taste amazing or a song will sound so good, an exhausted, oozing postpartum woman can do her own kind of thrill-seeking. I re-read Under the Volcano, which really popped in my altered state. It’s a hard book to follow but I found to my delight that I’ve now read it enough I’m no longer spending a lot of time trying to understand what is going on. Its insane, calamitous beauty was perfect for my technicolor emotional state; rather than despairing over my inability to form a sentence I put myself in the hands of a pro, shaking though Malcolm Lowry’s were as he wrote. It hasn’t all been déjà vu. There have been new things, some of them bad: namely the feeling of being driven absolutely bananas by my poor sweet firstborn, who is no longer tiny and blameless and new, but a harum-scarum toddler who jumps on the bed and windmills her arms and kicks and screams WAKE UP MAMA and refuses to put on her jacket. On this front one of the random galleys that pile up in the vestibule was a surprise hit—a children’s book from the Feminist Press called How Mamas Love Their Babies. My daughter loves this book, which has beautiful photo collage illustrations. It is a progressive book that encourages workers’ solidarity in a way I was not necessarily prepared to address with a just-turned-three-year-old but am now trying to do in my poky fashion (“Some mamas dance all night long in special shoes. It’s hard work!” the book reads, and my child peers inquisitively at a photo of platform lucite heels). It also helps me: I look at myself in the mirror and note that some genetic vandal has lately streaked what looks like raspberry jam across the skin of my hips and one (!) breast (“Some mamas care for their babies inside their own bodies,” the book reminds me). When the baby was three weeks old I got pneumonia, and that was a bad new sensation too, although even that interlude had its attractions. I discovered coconut water, and read Swamplandia in a febrile, almost louche state of abandon in my increasingly musty sheets, a perfect complement to the novel’s climate—its rotting house and the visions and moods of its protagonists. [millions_ad] During early nights of nursing I read a galley of a memoir by a writer who also got good hormones and who became addicted to having babies, having five in fairly rapid succession. If nothing else, I understood the irrational drive to overabundance. In the first weeks of this new baby’s life I astonished myself by wanting more, more, more. Around week five I actually googled “is it morally wrong to have a third child,” and if you are a well-fed, utilities-using first-worlder like me, yes, not to mention yes, in philosophical terms (not to mention we can’t afford it, not to mention it would surely drive me batshit). Everything you read about life on this planet, including some of the novels I read this year, suggests you should not have children, and if you must, that you should have only as many as you have arms to carry them away from danger. Even that formulation is a consoling fallacy. Things are less technicolor now, but the hormones are still there, propping me up. (I read over this and see they've even led me to write a somewhat revisionist history of what the past few weeks have been like.) Last week, week eight, I finally read Open City, which is a few years old but speaks to the state of the world today in a way that is depressing. I love how it is a novel of serious ideas and style, but is also approachable and pleasure-making for its reader. I love that it is a humane book even as it is gimlet-eyed. Now I’m reading Go, Went, Gone by Jenny Erpenbeck and finding it similarly humane and gimlet-eyed and serious and pleasure-making. It is about the state of the world at this moment. It also speaks to the double consciousness of people like its protagonist, who are living not necessarily with suffering but with a metastasizing awareness of suffering, and how it changes them, and this is on my mind. The novel also seems to be about time and space and how people are altered when their time and space are altered. It's about the difference, not between "us" and "them," but between "you" and "you." I’m thinking about that too as I time travel this winter. I know I need to prepare for the moment when all this gladness provided gratis by Mother Nature will deflate and disappear like a wet paper bag. And there will be a time—I feel it coming on as I type this and hope the baby stays asleep in her bouncer—when the deep satisfaction of one kind of generative act, this bodily one, will be supplanted with the need for other kinds of creation. I think Cole and Erpenbeck's novels will help me with these eventualities. I’m counting on them, and on all the beautiful things I hope to read next year. You know what they say about books: they’re like babies; when you have one you’re never alone. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005