I received the call late on a Saturday night. I live in Europe, far from my home in the U.S., so receiving a call from my mother at 10 p.m. my time (1 p.m. her time) was never unusual. But when the tone of her voice on the other line was a distinct “Hi,” choking the usual sing-songy enthusiasm to follow, I felt a lump in my throat. “They found your dad,” she said, “He’s gone.” I then immediately collapsed into my wife’s arms. After a night of sobbing and pacing, I managed to fall asleep. The next day, I found odd ways to cope: I rewatched funny YouTube videos in order to escape from reality. I watched old detective shows that would normally keep my mind occupied and soothe my anxieties. Following a few messy, stumbling phone calls from friends and family, I found myself unable to carry my own bones through this particular loss. I don’t have a religion or god to fall back on. I turned my back on that as a teenager, and ever since, I’ve managed so far to find peace in music, poetry, and philosophy. Metaphors about death and grief are a dime a dozen; you’ll find plenty of words that are, as I discovered, virtually helpful to no one—“all that lives must die” (Shakespeare), or “death doesn’t change us more than life” (Dickens). Once I found myself confronting the complexity of grief, tepid words from my literary heroes didn’t seem to do the heavy lifting I originally hoped for. Another famous literary phrase that comes to mind when we think of death is “So it goes.” This is, of course, the quasi-absurdist response found in Kurt Vonnegut’s Slaughterhouse-Five, given after every instance of death in the novel (a novel about World War II, so you can imagine it happens quite a lot). Although this phrase is hardly a comfort, it bespeaks the way I had always approached death—sometimes scratching my head, sometimes with cynicism, and sometimes with a shrug. What happened during the grieving period wasn’t so much answer-seeking. I wasn’t cursing the heavens, kneeling in the dust and beating my breast, asking, “Why, God, why?” Instead, I found myself wondering how I could simply exist comfortably anymore. How can I act kindly toward others, when I felt nothing but anger? How can I avoid blaming the world and the people around him for taking him away from me? I then remembered what Vonnegut once said to a group of students at Case Western Reserve University. After asking what life is all about, he delivers the answer: “We are here to help each other get through this thing … whatever it is.” This short phrase seemed to solidify for me something I was missing: a philosophy of life that, in its lightness and simplicity, told me exactly what I ached for during the grieving period and epitomized the type of person I should aspire to be. This echoes, as well, the beautiful phrase Malachi Constant utters in The Sirens of Titan: “The true purpose of life, no matter who is in control, is to love whoever is around to be loved.” It’s no secret that Vonnegut was not religious. A self-described humanist, Vonnegut became the American Humanist Association’s honorary president in the early ’90s, succeeding Isaac Asimov in what he described as a “completely functionless capacity.” In the short text God Bless You Doctor Kevorkian, originally read as a radio broadcast, he says, “I am a humanist, which means, in part, that I have tried to behave decently without any expectation of rewards or punishments after I'm dead.” Vonnegut, though, didn’t seem to have the acute hostility toward religion that one expects from us atheists, especially today. I share, in fact, his fascination with and affinity for the anodyne symbols, imagery, and comforts that people find in religion. This idea comes through full-force in his novel Cat’s Cradle. The novel depicts the story of Jonah, a writer whose growing fascination with the scientists involved in the atomic bomb leads him first to meeting the children of a famous physicist, then eventually to the fictional island San Lorenzo. The novel reflects a uniquely blended critique of both religion and science. “Anyone unable to understand how a useful religion can be based on lies,” Jonah says in one of the beginning chapters, “will be unable to understand this book.” The significant part of this passage isn’t the “based on lies” part—rather the word “useful.” Useful things that make life bearable can nevertheless be based on lies. The name for this, according to Vonnegut in a later collection, is “Foma”—“harmless untruths, intended to comfort simple souls”. Scientists, on the other hand, are not depicted favorably in the novel. While science as such might engender a curiosity with and concern for truth, often enough the human cost has been cast to the wayside. The same people who gave us efficient means to connect with one another also gave us efficient means to blow each other up. While Jonah is interviewing Dr. Asa Breed—the supervisor to the (fictional) Nobel Prize-winning physicist Felix Hoenikker—she defensively replies to his questions, “All your questions seem aimed at getting me to admit that scientists are heartless, conscienceless, narrow boobies, indifferent to the fate of the rest of the human race, or maybe not really members of the human race at all.” Jonah’s reply: “That’s putting it quite strongly.” The point is that, while religions derive from fictions and lies, they nevertheless bring peace and comfort. They do make us perform silly rituals and spout meaningless mantras, imparting false assurances through fanciful stories. But these alone hardly harm anyone. Science, by contrast, with the hubristic pursuit for technological advancement, has a track record of grave human consequences—the expression of which we can find in such catastrophes as, say, Hiroshima and Nagasaki, and other such nuclear disasters. When my father died, he was alone. At the time of his death, an illness which controlled much of his life ultimately led him to collapse on his bedroom floor. It wasn’t until his brother called for a welfare check that he was discovered in his house. Alone. Probably dead for a few days. So it goes. Although I have some idea of what his last moments were like, I still don’t have clarity. What I do fear, and what causes me the most pain, is the realization that he must have been so afraid. He wasn’t ready to die. Not then. Throughout his life, my father was a man of little complication. He grew up in a middle-class family in the Midwest. He came close to joining the Naval Academy, but then instead moved to New York in his early 20s to become an accountant. When I was growing up, my father had a light touch about him—an openness and willingness to laugh that was utterly contagious. My sister and I never had to be extraordinary, and it was almost impossible to disappoint him. My parents divorced when I was a teenager. In the years since, I saw my father go through more divorces, setbacks, and job lay-offs. During my adolescence and into adulthood, I witnessed his losing battle with his body. I watched him sink even deeper into alcoholism while the cirrhosis slowly took his liver, his mind, and then his life. At his memorial, my sister and I both read eulogies. She went first, and I followed. After telling a few stories about my dad and even making a few jokes at his expense, I read a passage from Cat’s Cradle. In the novel, the people of San Lorenzo follow the fictional religion of Bokononism. And when their dictator, “Papa” Monzano, is on his deathbed, Dr. von Koenigswald arrives to deliver the last rites of Bokononism. It’s a prayer that beautifully expresses gratitude toward life and beauty, and to me, it stood as the perfect way to end a eulogy. Although it’s originally written with two voices, with “Papa” repeating each line, I cut out the second voice and read it more as if it’s a singular prayer: God made mud. God got lonesome. So God said to some of the mud, "Sit up!" "See all I've made," said God, "the hills, the sea, the sky, the stars." And I was some of the mud that got to sit up and look around. Lucky me, lucky mud. I, mud, sat up and saw what a nice job God had done. Nice going, God. Nobody but you could have done it, God! I certainly couldn't have. I feel very unimportant compared to You. The only way I can feel the least bit important is to think of all the mud that didn't even get to sit up and look around. I got so much, and most mud got so little. Thank you for the honor! Now mud lies down again and goes to sleep. What memories for mud to have! What interesting other kinds of sitting-up mud I met! I loved everything I saw! Good night. I will go to heaven now. I can hardly wait... To find out for certain what my wampeter was... And who was in my karass... And all the good things our karass did for you. Amen. I concluded my eulogy with this, crying through the line, “thank you for the honor!” (I also skipped over the last three lines about “wampeter” and “karass”—other Vonnegut-isms for aspects of religiosity.) For weeks after my father died, I realized that these lines were helping me cope with his death. Because I don’t know what my father’s last words were—or if he even had any final words—I continue to read these lines as if my father said them to himself. I know full well that this is false (not least because, as far as I know, my father never read Vonnegut), and I don’t convince myself that it’s true. Rather, imagining that my father loved everything he saw, and that he felt it such an honor to be alive, is consistent with the man he was and the life he wanted. As for me, reinterpreting his final moments with the Bokononist prayer may be a falsehood, may be a lie; in fact, it’s a foma—a harmless untruth meant to comfort my simple soul. Image: Flickr/Seabamirum
Dreamers and readers have always been fascinated with the idea of the otherworldly, the extraterrestrial, the alien. So long as we have been telling stories, those stories have contained life beyond what is seen—be they gods, monsters, or, for the purposes of this essay, aliens. Some have argued that the scientist Johannes Kepler's work of fiction—Somnium—published in 1634 is the first work of science fiction that features an alien. In it, a boy named Duracotus is magically transported to the moon by a demon. There is life on the moon and it is described in a scientific manner (apparently—I haven’t read the book). My earliest encounter with an otherworldly lifeform was in The Man in the Moone or the Discovrse of a Voyage Thither by Domingo Gonsales by the bishop Francis Godwin, published 1638. Godwin begins his tale with a suggestion that a voyage to the moon would be the equivalent of the early explorations into what is now the U.S. A man of means gains favor with a Spanish Duke by committing robbery and murder. A series of unfortunate events leads him to create a flying machine powered by creatures bred to counter the earth’s magnetic field and he finds himself on the moon. The moon people are true aliens—giants. Micromégas by Voltaire, published in 1752, has pretty much no plot but almost certainly features the first aliens from beyond the moon; indeed, the solar system. They are also the narrators. Micromégas is the main character and an inhabitant of a planet orbiting Sirius. This planet is, Voltaire describes, 21.6 million times greater in circumference than the Earth. Micromégas is, therefore, "twenty-four thousand paces from tip to toe," or about 20,000 feet tall. Science fiction isn’t about predicting the future, but maybe laying down warnings. However, Voltaire notes, for example, that Mars has 2 moons. Astronomers did not discover Phobos and Deimos until 1877. In this short story, there are also giant aliens on Saturn. The aliens have a better rationale for the direct questioning human philosophy, and Voltaire has a few digs at those who would not live a rational life along the way too, as the aliens debate science and philosophy (bickering over size and distance, for example). 1847 saw the publication fo the intriguing Orrin Lindsay’s Plan Of Aerial Navigation, Edited by J. L. Riddell. M.D. Riddell was American doctor, and this was a story published in a pamphlet that claimed to collect letters received by Riddell from a former student. Despite getting to the moon, Lindsay reports that there aren’t any aliens to be found; the story concludes with a letter again from Lindsay to Riddell suggesting a voyage to Mars. The hunt for aliens is not always successful, but the idea of finding life on other worlds, planets beyond the gaze of humanity, was gaining traction by that time. It wasn’t until The War Of The Worlds (1897) and H.G. Wells that non-humanoid aliens finally made contact. We all know the story. Martians invade earth, or rather, the southeast of England. We all know the subtext: British colonialism. But what Wells did was extraordinary. He thought about the evolution of intelligent creatures on the red planet. As a species, Homo sapiens tends to revolt against real animals that don’t operate in the expected manner: spiders, crabs, octopus. Wells used that to instill additional horror into the alien invasion. Would “the rout of civilisation, of the massacre of mankind” have occurred of the Martians looked like you and me? Meanwhile, Mars was the planet of choice for many new science-fiction authors, and Tarzan creator Edgar Rice Burroughs populated his planet with a range of different aliens. Norman Bean published a serial story from February 1912 through to July that same year. Called Under the Moons of Mars, it was printed in The All-Story. It was later revealed to be A Princess of Mars (1912). Burroughs was addressing race via the use of aliens on Mars: there are green Tharks—a nomadic warrior tribe; the princess is a red Martian; there are brutal, mindless white apes. A Voyage to Arcturus (1920) by David Lindsay features a made-up planet (Tormance) orbiting the real Arcturus, which is a double star system, consisting of stars Branchspell and Alppain Olaf Stapledon created an entire universe in Star Maker, published in 1937. In it, the narrator is transported out of his body and tours the universe, exploring alien civilizations. One key alien concept explored is a non-humanoid symbiotic species. He pitched his aliens to have evolved in the same manner as life on Earth. Concepts such as collective consciousness are explored, maybe taking the concept of the insect hive-mind to its logical conclusion. Writers make up new species of intelligent life, why not make up who new planets? It is alleged that C.S. Lewis decided to write Out of the Silent Planet (1938) after reading Lindsay’s A Voyage to Arcturus, but must surely also owe a debt Burroughs’s A Princess of Mars. Lewis describes a convoluted process in which the protagonist ends up on a planet known as Malacandra. Lewis introduces three distinct intelligent species: the sorns are slender and humanoid and are the scientists and thinkers; the hrossa resemble overstretched otters—and have their love of water—they are poets and musicians; and the pfifltriggi are the builders, looking like insectile frogs. Lewis split characteristics into species in a similar manner to Burrourghs, but like Stapledon made some of them non-humanoid. By then, the idea that human-shaped creatures were the pinnacle of evolution was waning within science fiction. As science and understanding of the natural world advanced and Homo sapiens were accepted as just animals, science-fiction writers seemed to feel more freedom of imagination. Lewis was of course very religious and, as with Stapledon, the question of aliens as religious figures is addressed. A species called Eldila control life in the universe, and appear as vague shafts of light. They are Lewis’s angels. By now, science-fiction books contained a plethora of alien species, all exploring similar ideas of evolution, religion, consciousness, and humanity’s place in the universe. As humans use and abuse our planet, would superior alien species use and abuse us? E.E. "Doc" Smith’s The Skylark of Space (1946) features a hyper-intelligence with no material existence. Childhood's End (1953) from the great Arthur C. Clarke features aliens that have benevolently overseen human evolution but have the appearance of Satan. Humans are at war with an intelligent insect species with a super-intelligent queen in Starship Troopers (1959) by Robert A. Heinlein. Science fiction is a common disguise for philosophy. Solaris, published in 1961 by Stanisław Lem, is a treatise on memory and communication. Lem, picking up on some of the ideas of his predecessors that aliens need not be human-shaped or have minds like ours, developed the idea of a sentient ocean. The planet Solaris is studied by scientists, but the planet is studying them back. In less than a century, aliens have evolved from Wells’s trilateral brains to intelligent planets. Whereas the likes of Lewis extrapolated what science knew of biology and evolution, Lem let his imagination run riot; science be damned; they adhere to their own internal logic, even if it is beyond what we believe is possible today. Dune (1965) by Frank Herbert features giant sandworms and the complex ecology of a desert planet. The aliens, from Gethen, in The Left Hand of Darkness (1969) by Ursula K. LeGuin are "ambisexual;" having no fixed sex. From the same year, Michael Crichton’s The Andromeda Strain sees the aliens as crystalline micro-organisms with no DNA. Ringworld (1970) by Larry Niven takes imagination and biology to a new level. By now, aliens are all over popular culture, from so-called "real-life" alien abductions to classic science-fiction films such as Children of the Damned and TV series such as Dr. Who. Over the course of the Ringworld novels, Niven develops very definite biology, sociology, political life, and, of course, appearance of his aliens. The Pierson's Puppeteers are 3-legged and 2-headed creatures. The brain isn’t in the heads, however. Meanwhile, the kzin are cat-like humanoids with a rich warrior-based history. In the majority of science fiction, aliens and humans interact. The aliens in Kurt Vonnegut’s classic Slaughterhouse-Five (1969) are almost beyond comprehension. Known as Tralfamadorians, they exist out of time, witnessing time the way we witness distance. They also keep humans in a zoo. In Roadside Picnic (1971) by the Russians Arkady and Boris Strugatsky, we don’t meet the aliens, only their detritus. They visited the Earth some time ago and left behind objects that have had a curious effect on anyone who goes into the Zones. The intelligent aliens in Rendezvous with Rama (1973) by Arthur C. Clarke are so unknowable, they don’t even feature—only their space craft and a few non-sentient species and some plants are featured. Meanwhile, the alien Vogons in The Hitchhiker's Guide to the Galaxy (1979) by Douglas Adams are patently so dumb it is hard to imagine them developing space flight in the first place. Contrast them with Adams’s mice, the hyper-intelligent superbeings that built Earth in the first place. By the late 1970s, once Star Wars entered popular culture, aliens had truly exploded into the cultural consciousness. They continued to work as robust allegories for issues such as cultural suppression, the understanding of language, capitalism, food production, anything the author wanted to tackle. In Doris Lessing’s Re: Colonised Planet 5, Shikasta (1979), empire and evolution are the topics: a benevolent galactic empire accelerates the evolution of a humanoid species. Lessing plots the story so that the natives have a degenerative disease, giving her licence to examine religion, power, and imperialism. Hyperion (1989) by Dan Simmons has similar themes, only with humans as the galactic dominant species. Simmons introduces the time-traveling Shrike, a fierce half-mechanical, half-organic, four-armed alien. It is both an object of fear and worship. Mary Doria Russell has two intelligent species and a religious expedition in her remarkable The Sparrow (1996)—cultural and religious clashes are examined and their consequences are brutal. The aliens in Michel Faber’s Under the Skin (2000) look like humans and live in Scotland. However, they pick up hitchhikers so they can be processed and sent back to their home world for a huge meat-producing corporation. Matt Haig’s The Humans (2013) also has an alien that takes on human form so he can work in an English university. From Haig’s "human," to Becky Chambers’s multi-species crew of the spaceship Wayfarer in The Long Way to a Small, Angry Planet (2015) to Nnedi Okorafor’s jellyfish-like aliens in her Binti series, extra-terrestrials—be they energy, gaseous, insectoids, planetoids, immaterial or microscopic—tackle every aspect of science fiction in every conceivable way. The aliens are here to stay. Image Credit: Wikipedia.
Is there such a thing as literary science fiction? It’s not a sub-genre that you’d find in a bookshop. In 2015, Neil Gaiman and Kazuo Ishiguro debated the nature of genre and fiction in the New Statesman. They talk about literary fiction as just another genre. Meanwhile, Joyce Saricks posits that rather than a genre, literary fiction is a set of conventions. I’ve not read a whole lot of whatever might be defined as literary fiction. I find non-genre fiction a little on the dull side. People -- real people -- interacting in the real world or some such plot. What’s the point of that? I want to read something that in no way can ever happen to me or anyone I know. I want to explore the imagination of terrific authors. I’ve heard that literary fiction is meant to be demanding. I don’t mind demanding, but I want, as a rule, a stimulating plot and relatable or, at the very least, interesting characters. I suspect My Idea of Fun by Will Self (1993) is the closest I’ve come to enjoying a piece of literary fiction, but I was far from entertained. And so I read genre fiction -- mostly science fiction, but anything that falls under the umbrella of speculative fiction. It turns out that some of what I’ve read and enjoyed and would recommend might be called literary science fiction. This is sometimes science fiction as written by authors who wouldn’t normally write within the genre, but more often than not regular science fiction that has been picked up by a non-genre audience. Literary fantasy is not so common as literary science fiction, but there is a lot of fantasy, both classical and modern that non-fantasy fans will be familiar with (many are put off by the label "fantasy," and maybe an awful lot of terrible 1980s fantasy movies). Of course there are J.R.R. Tolkien’s books and the Chronicles of Narnia and Virginia Woolf’s Orlando. These books are only the briefest glimpses into both the imagination of some terrific authors and the scope of fantasy fiction. It isn’t all about hobbits and lions and wizards. There’s much more to explore. You’ve likely read most of these examples; if they’ve piqued your interest and want to explore more genre fiction, here are some suggestions for next steps. You read: Super Sad True Love Story (2010) by Gary Shteyngart is a grim warning of the world of social media. There’s not a whole lot of plot, but Shteyngart’s story is set in a slightly dystopic near future New York. There are ideas about post-humanism, as technology is replacing emotional judgement -- people don’t need to make choices; ratings, data, and algorithms do that for you. As an epistolary and satirical novel Super Sad True Love Story engages well. The science fiction elements are kept to the background as the characters’ relationships come to the fore. Now try: Ready Player One (2011) by Ernest Cline. In Cline’s near future, like Shteyngart’s, there is economic dystopic overtones. Most folk interact via virtual worlds. In the real world, most people are judged harshly. Wade spends all his time in a virtual utopia that is a new kind of puzzle game. Solving clues and eventually winning it will allow him to confront his real-world relationships. Friendships are key to the enjoyment of this novel, as well as how technology alters our perception of them. Are we the masters or servants of technology? Snow Crash (1992) by Neal Stephenson is a complex and knowing satire. The world is full of drugs, crime, nightclubs, and computer hacking; "Snow Crash" is a drug that allows the user access to the Metaverse. Stephenson examined virtual reality, capitalism, and, importantly, information culture and its effects on us as people -- way before most other authors. Like Cline and Shtenyngart, technology -- in this case the avatars -- in Snow Crash is as much a part of the human experience as the physical person. You read: Never Let Me Go (2005) by Kazuo Ishiguro is one of the best and most surprising novels in the science fiction genre. It is the story of childhood friends at a special boarding school, narrated by Kathy. Slowly the world is revealed as a science fiction dystopia wherein where the privileged literally rely on these lower class of people to prolong their lives. The science fiction-ness of the story -- how the genetics work for example -- is not really the purpose of the story. Ishiguro writes brilliantly about what it means to be a person and how liberty and relationships intertwine. Now try: Spares (1996) by Michael Marshall Smith tells pretty much the same story, but with a different narrative and a more brutal full-on science fiction realization. Jack Randall is the typical Smith anti-hero -- all bad mouth and bad luck. He works in a Spares farm. Spares are human clones of the privileged who use them for health insurance. Lose an arm in an accident; get your replacement from your clone. Spares is dark yet witty, and again, muses on the nature of humanity, as Jack sobers up and sees the future for what it really is. He believes the Spares are people too, and that it’s time he takes a stand for the moral high ground, while confronting his past. The Book of Phoenix (2015) by Nnedi Okorafor is another tale about what it means to be a human in a created body. A woman called Phoenix is an "accelerated human" who falls in love and finds out about the horrors perpetuated by the company that created her. One day, Phoenix’s boyfriend witnesses an atrocity and kills himself. Grieving, Phoenix decides she is in a prison rather than a home. The book is, on the surface, about slavery and oppression: Americans and their corporations taking the lives of people of color as if they meant nothing. It is powerful stuff, with very tender moments. You read: Slaughterhouse-Five (1969) by Kurt Vonnegut is perhaps his most famous work, and maybe his best. It is the tale of Billy Pilgrim, an anti-war chaplain's assistant in the United States Army, who was captured in 1944 and witnessed the Dresden bombings by the allies. This narrative is interweaved with Billy’s experiences of being held in an alien zoo on a planet far from Earth called Tralfamadore. These aliens can see in such a way that they experience all of spacetime concurrently. This leads to a uniquely fatalistic viewpoint when death becomes meaningless. Utterly brilliant. Definitely science fiction. So it goes. Now try: A Scanner Darkly (1977) by Philip K. Dick. Like Vonnegut, Dick often mixes his personal reality with fiction and throws in an unreliable narrator. In A Scanner Darkly, Bob Arctor is a drug user (as was Dick) in the near future. However, he’s also an undercover agent investigating drug users. Throughout the story, we’re never sure who the real Bob is, and what his motives are. It’s a proper science fiction world where Bob wears a "scramble suit" to hide his identity. Dick’s characters get into your head and make you ponder the nature of who you might be long after the book is over. Little Brother (2008) by Cory Doctorow takes a look at the world of surveillance. Unlike Dick’s novel, this is not an internal examination but an external, as four teenagers are under attack from a near future Department of Homeland Security. Paranoia is present and correct as 17-year-old Marcus and his friends go on the run after a terrorist attack in San Francisco. Doctorow’s usual themes include fighting the system and allowing information to be free. You read: The Handmaid’s Tale (1985) by Margaret Atwood. After a religiously motivated terrorist attack and the suspension of the U.S. Constitution, the newly formed Republic of Gilead takes away some women's rights -- even the liberty to read. There is very little science in The Handmaid’s Tale -- indeed, Atwood herself calls it speculative rather than science fiction. The point, however, is not aliens or spaceships, but how people deal with the present, by transporting us to a potential, and in this case frightening, totalitarian future. Now try: Bête (2014) by Adam Roberts is also a biting satire about rights. Animals, in Roberts’ bleak future, have been augmented with artificial intelligence. But where does the beast end and the technology take over? The protagonist in this story is Graham, who is gradually stripped of his own rights and humanity. He is one of the most engaging protagonists in recent years: an ordinary man who becomes an anti-hero for the common good. As with The Handmaid’s Tale, the author forces us to consider the nature of the soul and self-awareness. Herland (1915) by Charlotte Perkins Gilman explores the ideas of a feminist utopia from the perspective of three American male archetypes. More of a treatise than a novel, it is science fiction only in the sense of alternative history and human reproduction via parthenogenesis. Gilman suggests that gender is socially constructed and ultimately that rights are not something that can be given or taken from any arbitrary group. You read: The Left Hand of Darkness (1969) by Ursula K. Le Guin is regarded as the novel that made her name in science fiction. Humans did not originate on Earth, but on a planet called Hain. The Hainish seeded many worlds millions of years ago. In The Left Hand of Darkness, set many centuries in the future, Genly Ai from Earth is sent to Gethen -- another seeded world -- in order to invite the natives to join an interplanetary coalition. As we live in a world of bigotry, racism and intolerance, Le Guin brilliantly holds up a mirror. Now try: Ammonite (1992) by Nicola Griffith also addresses gender in the far future. On a planet that has seen all men killed by an endemic disease, anthropologist Marghe journeys around the planet looking for answers to the mysterious illness, while living with various matricidal cultures and challenging her own preconceptions and her identity. Griffith’s attention to detail and the episodic nature of Marghe’s life result in a fascinating and engaging story -- which is what the women of this planet value above all else. Accepting different cultural ideologies is an important factor in science fiction and both Le Guin and Griffith have produced highlights here. The Long Way to a Small, Angry Planet (2015) by Becky Chambers. There’s a ship called the Wayfayer, crewed by aliens, who are, by most definitions, the good guys. A new recruit named Rosemary joins the ship as it embarks on a mission to provide a new wormhole route to the titular planet. Chambers writes one of most fun books in the genre, featuring aliens in love, fluid genders, issues of class, the solidarity of family, and being the outsider. You Read: Jonathan Strange & Mr. Norrell (2004) by Susanna Clarke. In this folk-tale fantasy, Clarke writes a morality tale set in 19th-century England concerning magic and its use during the Napoleonic Wars. Somewhat gothic, and featuring dark fairies and other supernatural creatures, this is written in the style of Charles Dickens and others. Magic is power. Who controls it? Who uses it? Should it even be used? Now try: Sorcerer to the Crown (2015) by Zen Cho is set in a similar universe to Clarke’s novel: Regency England with added fantasy. Women don’t have the same rights as men, and foreign policy is built on bigotry. The son of an African slave has been raised by England’s Sorcerer Royal. As in Clarke’s story, magic is fading and there are strained relationships with the fairies. This is where the novels diverge. Prunella Gentleman is a gifted magician and fights her oppressive masters. Cho writes with charm and the characters have ambiguity and depth. This is more than just fairies and magic, it is a study of human monsters, women’s rights, and bigotry. Alif the Unseen (2012) by G. Willow Wilson. Take the idea of power, politics and traditional magic and move it to the Middle East. We’re in a Middle-Eastern tyrannical state sometime in the near future. Alif is Arabian-Indian, and he’s a hacker and security expert. While having a science fiction core, this sadly under-read book has fantasy at its heart. When Alif’s love leaves him, he discovers the secret book of the jinn; he also discovers a new and unseen world of magic and information. As with those above, this is a story of power. Who has it, and who controls it. The elite think they do, but the old ways, the old magic is stronger. You read: Alice’s Adventures in Wonderland (1865) by Lewis Carroll. Everyone’s favorite surrealist fantasy begins with a bored little girl looking for an adventure. And what an adventure! Dispensing with logic and creating some of the most memorable and culturally significant characters in literary history, Carroll’s iconic story is a fundamental moment not just in fantasy fiction but in all fiction. Now try: A Wild Sheep Chase (1982) by Haruki Murakami sees the (unreliable?) narrator involved with a photo that was sent to him in a confessional letter by his long-lost friend, The Rat. Another character, The Boss’s secretary, reveals that a strange sheep with a star shaped birthmark, pictured in an advertisement, is in some way the secret source of The Boss's power. The narrator quests to find both the sheep and his friend. Doesn’t sound much like Alice for sure, but this is a modern take on the surreal journey populated by strange and somewhat impossible characters, with a destination that might not be quite like it seems. You might have read Kafka on the Shore or The Wind-Up Bird Chronicle -- both terrific novels -- but you really should read Murakami’s brilliantly engaging exploration into magical oddness. A Man Lies Dreaming (2014) by Lavie Tidhar. Was Alice’s story nothing more than a dream? Or something more solid? Shomer, Tidhar’s protagonist, lies dreaming in Auschwitz. Having previously been a pulp novelist, his dreams are highly stylized. In Shomer’s dream, Adolf Hitler is now disgraced and known only as Wolf. His existence is a miserable one. He lives as a grungy private dick working London's back streets. Like much of Tidhar’s work, this novel is pitched as a modern noir. It is however, as with Carroll’s seminal work, an investigation into the power of imagination. Less surreal and magical than Alice, it explores the fantastical in an original and refreshing manner. You read: The Once and Future King (1958) by T.H. White. A classical fantasy tale of English folklore, despite being set in "Gramarye." White re-tells the story of King Arthur, Sir Lancelot, and Queen Guinevere. This is an allegoric re-writing of the tale, with the time-travelling Merlyn bestowing his wisdom on the young Arthur. Now try: Redemption in Indigo (2010) by Karen Lord takes us on a journey into a Senegalese folk tale. Lord’s protagonist is Paama’s husband. Not at all bright, and somewhat gluttonous, he follows Paama to her parent’s village. There he kills the livestock and steals corn. He is tricked by spirit creatures (djombi). Paama has no choice to leave him. She meets the djombi, who gives her a gift of a Chaos Stick, which allows her to manipulate the subtle forces of the world. A Tale for the Time Being (2013) by Ruth Ozeki. Diarist Nao is spiritually lost. Feeling neither American or Japanese (born in the former, but living in the latter), she visits her grandmother in Sendai. This is a complex, deep, and beautifully told story about finding solace in spirituality. Meanwhile, Ruth, a novelist living on a small island off the coast of British Columbia, finds Nao’s diary washed up on the beach -- possibly from the tsunami that struck Japan in 2011. Ruth has a strong connection to Nao, but is it magic, or is it the power of narrative? You read: American Gods (2001) by Neil Gaiman. No one is more in tune with modern fantasy than Neil Gaiman. This is an epic take on the American road trip but with added gods. A convict called Shadow is caught up in a battle between the old gods that the immigrants brought to America, and the new ones people are worshiping. Gaiman treats his subject with utmost seriousness while telling a ripping good yarn. Now try: The Shining Girls (2013) by Lauren Beukes causes some debate. Is it science fiction or is it fantasy? Sure it is a time-travel tale, but the mechanism of travel has no basis in science. Gaiman, an Englishman, and Beukes, a South African, provide an alternative perspective on cultural America. A drifter murders the titular girls with magical potential, which somehow allow him to travel through time via a door in a house. Kirby, a potential victim from 1989, recalls encounters with a strange visitor throughout her life. Connecting the clues, she concludes that several murders throughout the century are the work of this same man. She determines to hunt and stop him. As several time periods occur in Beukes beautifully written and carefully crafted novel, it allows comment on the changes in American society. The People in the Trees (2013) by Hanya Yanagihara. Whereas Gaiman and Beukes use fantasy to comment on culture from a removed stance, Yanagihara looks at cultural impact head on, with the added and very difficult subject of abuse. Fantasy isn’t all about spells and magic rings. In a complex plot, Western scientists visit the mysterious island of U'ivu to research a lost tribe who claim to have eternal life. Yanagihara’s prose has an appropriate dream-like quality as it explores our perceptions through the idea that magic is a part of nature to some cultures. You read: The Harry Potter series (1997-2007) by J.K. Rowling. The story of a magician and his friends who grow up learning how to use magic in the world and to fight a series of evil enemies. As with other teen fantasies (such as TV series Buffy the Vampire Slayer), these books are more about growing up and understanding the world than they are about magic and monsters. Now try: The Magicians (2009) by Lev Grossman is, from one perspective, Narnia remixed starring Harry Potter at university with swearing and sex. Which sounds great to me! From another, it is about addiction and control. Quentin (Harry) loves the fantasy books Fillory and Further (Chronicles of Narnia). Thinking he is applying to Princeton, he ends up at Brakebills College for Magical Pedagogy (Hogwarts). He learns about magic while making new friends and falling in love, while is former best friend, Julia, who failed to get to Brakebills, learns about magic from the outside world. There are beasts and fights and double crossing and the discovery that Fillory is real. Rollicking good fun with plenty of magic and monsters, but Grossman adds an unexpected depth to the story. Signal to Noise (2015) by Silvia Moreno-Garcia is a perfect fantasy novel for anyone who was a teenager in the 1980s. I’d imagine it is pretty enjoyable for everyone else too. This time, there is no formal education in magic. Set in Mexico, Signal to Noise charts the growing pains of Meche and her friends Sebastian and Daniela. The make magic from music. Literally. Magic corrupts Meche and her character changes. Moreno-Garcia nails how selfish you can be as a teenager once you get a whiff of power or dominance. In the end, everything falls apart. Image Credit: Pixabay.
An “Any Soldier” care package was no curatorial feat. Rather, it was a cardboard box filled with good intention, a.k.a., Chef Boyardee and Dinty Moore cans, as had been skimmed from a pantry, or collected by a church drive. It seemed designed to make both recipient and provider feel precisely, lukewarmly O-K. This was fine. It was lovely. Still. No offense, but when a troop saw an open Any Soldier box, we generally moved on without a glance. We wagered that anything worth anything had been picked out or bartered, and we were just too spent for a letdown. An unopened Any Soldier package, however, held value. Because no matter how hard you tried to murder hope -- a mandate of the job -- you couldn’t help but feel a flare of it ascend if you found an un-ravaged box. If you got to be the first and only Any Soldier. This happened to me exactly once. The result: I learned about fiction from a box of Kurt Vonnegut books, Operation Desert Storm, 1991. The scene was sand, and tent, and swelter, and blast concussion, and a small, unopened box, and me: a 19 year-old private in a camp in the desert void; a kid who’d gotten in enough trouble back home to risk his future, but who held enough privilege to get him out of said trouble; a kid whose father and grandfather had done tours in their respective wars. A white boy from the South who got into a state school based on base smarts and sub-base grades, the latter coupled to the asterisk* that he had joined the Army Reserve. *He was a Good Kid who had found his way past setback c/o serving his country. (At the time of my enlistment, the era of George H.W. Bush, the Army did not test for the chemicals I was fool enough to ingest.) Point here was the Any Soldier box, unopened. No return address. I looked around as if to thwart a setup, then squatted on the sand floor of the tent and went at it. Ripping the tail of packing tape off of the top, I expected a reward of Spaghetti-O’s or Cheerios, or pray-God, Jolly Ranchers. There was nothing there. Nothing but books. I read Slapstick out of obligation, and because it sat on top of the stack, and because its cover featured an illustrated clown. The titular allusion to clumsy, physical violence was wedded to the novel’s leitmotifs: “And so on” and “Hi ho.” Though employed as one-liner punchlines, these phrases also imported rhythmic, recurrent notes of social satire. “Hi ho” in particular addressed the futility of any given situation, including my own. It became a snare-pop to the ridiculous, We’re fucked, circumstance at camp, e.g., SCUD missile, Saddam, Sarin gas…Hi ho. A few days later, when no one had rifled through the open box, I took it and stowed it in the sand under my cot. I then read Cat’s Cradle and Player Piano, before turning to the two texts I’d actually heard of, Slaughterhouse-Five and Breakfast of Champions. The former was a devastating, on-the-nose narrative about a veteran, Billy Pilgrim, whose life cycled back and forth through time, war to postwar, and again back to war. Yet it was Breakfast of Champions that snared me, that made me think about the writing process itself. Specifically, I fell in love with Vonnegut’s “picture of an asshole” on page two, a description wed to an illustration like an asterisk: * Alongside crude scrawl, I’d been unaware that one could build a narrative out of nonlinear snippets, or wield language as declarative and disruptive as “Armistice Day was sacred. Veterans’ Day is not.” Christ, I thought, this is writing? This was naïve. Breakfast had spent a year on best-seller lists before I turned three; there was a reason that even an applied non-reader like myself knew the name Vonnegut. In fact, I realize now how puerile and/or unhip this reads. Whatever. Hi ho. Because in that desert, on the eve of the ground assault, as Warthog jets and tactical missiles slashed the sky, and as Republican Guard mobilized within striking distance of our compound, Breakfast’s complexity and humor, its polemic and timing and asterisk assholes were a revolution. Salvation, even. Turns out the novel was the genesis text of “and so on,” having been published well before Slapstick. (I’d been reading the books in random order.) These three little syllables brought a gale force sandstorm. Importing both resignation and protest, and echoing the dehumanized, passive-aggressiveness of war, “and so on” represented everything my comrades and I were going through, and would go through. Character-wise, I learned that Kilgore Trout could recur in additional works, God Bless You, Mr. Rosewater, Breakfast and elsewhere; that his biography could alter, as could his physical appearance; that Trout’s very presence may or may not have anything to do with the narrator in Slaughterhouse -- let alone Vonnegut himself. In other words, a character did not have to look, act, feel, or even exist the same way, let alone stay in the same story, or in any story whatsoever. The Rules, to employ Slapstick, had the consistency of a “sparrow fart.” Thus, reading Vonnegut in the desert, I was introduced to character, language, setting, satire, narrative structure, leitmotif, and an asterisk asshole. I vowed to get home alive, and to write. Though my life did inch toward letters, it took another Iraq War for me to go all in. This time, the scene was grad school, Chicago, in the post-9/11 world. I was 32. Alongside workshops and lit theory, I scoured the public library for the primer texts I had avoided in high school and college. I read “Hills Like White Elephants,” and wrote a weeper about a couple whose clipped dialog hovers just above their anguish. After reading Jay Mac et al., I produced a pair of astonishingly poor novels featuring bruised young men. I signed letters to friends back home with “so it goes” -- the Slaughterhouse-Five catchphrase, as is repeated over 100 times in the novel -- and did not cite my source. I was working to be a writer, working quite hard, actually, but I was still mostly a mimic. Which was fitting, perhaps, since what came next was the most Billy Pilgrim-esque sort of echo: the call for a new war in the old desert -- Iraq -- against the old enemy -- Saddam Hussein -- as waged by a new President Bush. I was 19 again -- only I wasn’t. I was a bystander to my own memory. This time, instead of mobilizing for deployment, I marched in the streets, hurling slogans and pamphlets. One afternoon, I stood at the back of a massive protest that featured an African-American state senator as keynote. (He was the only politician brave enough to oppose the 2003 invasion of Iraq, and I loved him for that, and his wisdom helped him become President.) Yet just like those Vonnegut stories, made absurd by their refrain, our efforts came to naught. The war launched anyway. I lost it; I lay on the floor of my tiny apartment for days, skipping school and work and meals and sleep, and watching the war on television. Hi ho. I also wrote, finally, furiously, my depression unspooling with every hour of embedded news coverage. A rerun, I concurrently watched and remembered the sand and soldiers, Saddam and Bush. I recalled the lessons learned as the Any Soldier who found Vonnegut, or, perhaps, who was found by him. At some point, the news coverage flashed a photo of Shoshana Johnson, a young, African-American female soldier. Shot in the legs, she was one of the first troops captured by the Iraqis. She went to war. I went on a search: through humor, pain, sarcasm, critique, polemic. Filth. Violence. Quirk. Only, I didn’t want to write about me. I wanted to write about soldiers whose war stories didn’t earn as much coverage (and/or our relationship to the coverage itself). What’s more, I needed to explore the culture of war, this Pilgrim-esque loop, this Vonnegut-esque recurrence, and how and why the hell we perpetuate it. I wanted to write my own version of an asterisk asshole. I wanted to pluck up the emotions of the faraway battlefield, and plop them right down in your kitchen, your office, your car wash. I wanted to bring the war home. I sometimes regret that I have never sent those Vonnegut books to a new Any Soldier. Since 1992 I’ve only moved them from shelf to shelf, college to job, marriage to divorce, all over the country. Twice, they have spent a year in a pal’s garage while I traversed the planet. Slapstick and Slaughterhouse, talismans of sorts. My war story, my memory, as written by someone else -- which is mostly the case with a war story, it seems. Billy Pilgrim cycles back, just as George Bush cycles back, as did my grandfather and my father and me. As did Shoshana Johnson, and the thousands of young troops on my television. Any Soldiers, all the time, locked inside a story. Image: Wikipedia
At the beginning of each semester, I gather basic information from my fiction writing students such as major, hometown, and favorite book. Some of this arrives from the registrar before the semester begins, but the information isn’t always accurate, and many students accustomed to large, impersonal classes appreciate even perfunctory interest in their lives. My students’ majors are varied, and the students come from all over the world, even at a state university. With few exceptions, their book selections are depressing. The selections are not depressing because the books are sad. That would be great. I mean depressing as in uninspired, as in the last book the students can remember reading in high school, the book a movie was based on (sometimes they have only seen the movie), the Twilight series or Hunger Games series. Pretty much any series. This semester three students picked Lord of the Flies and three picked Harry Potter, edging “no response” as the most popular titles. It’s not that these books are necessarily bad, though some are. Instead, it’s what these choices suggest to me, that books occupy an ancillary role in the students’ lives. Books are something they had to read in class, or something a movie is based on, a movie everyone else is seeing. The book is rarely the thing the student willingly came to first. Although my students and I infrequently read the same books, we watch some of the same television shows. We’re more likely to find common ground discussing Breaking Bad than Yiyun Li. If I watched Game of Thrones or The Walking Dead, we’d have a lot to talk about because those programs influence their writing more than any author, living or dead. Other influences: CSI (in its various locales), Law and Order (in its various incarnations), True Blood (vampire everything). I’m not trying to be glib or cute. These are the narratives that influence students’ writing. It’s something I need to take seriously. Who am I to determine what’s good or bad? That’s a reasonable question. Isn’t it my job, as possibly the only creative writing instructor these students will ever have, to place moving stories into their hands, instill the virtues of reading, caution them against the culture’s basest offerings? Yes, gladly. But that’s not the question I find myself asking. The question isn’t even how to teach writing to students who don’t read. The question is how to teach writing to students who watch movies and television instead of reading. This class, I should note, is an upper-level elective. All of my students arrive voluntarily, and most are upperclassmen. My classes are unfailingly populated with curious young men and women. They’re earnest and respectful and hard-working. I genuinely like them. Every fall and spring there is a waitlist because students want to write stories. What they don’t particularly want to do is read them. Reading literary fiction for the pleasure or edification of reading literary fiction is something very few of my students do. What they reliably do is watch movies and television. I’m not sure if I’ve encountered a student who doesn’t. When I was in college — this is the last time I’ll allow myself this indulgence — I remember few conversations about television and little time spent watching it. There was a TV in the communal lounge, but it was a shabby space relative to the temptations elsewhere. To be fair, television has improved since I was a student. David Chase’s The Sopranos and David Simon’s The Wire, everyone seems to agree, raised the bar for what a television show could be. One can debate Simon’s characterization of The Wire as a “visual novel,” but for some of my students, it’s the only novel they choose to consume. I have my students read a lot of stories. I make a point, as most instructors do, to vary the subjects and styles, to include authors of different ages, ethnicities, genders, classes, and backgrounds. Every two years I change all of the stories, so I’m not flying on autopilot. There is no shortage of incredible short fiction. The students digest the stories dutifully. Sometimes students are visibly moved in class, which visibly moves me. These mutually-moved moments don’t happen all of the time. I’ve learned to appreciate them. When a student really likes a story, she will often compare it to a favorite episode, and then this happens: “It totally reminds me of the Dexter when he —” “Oh my God, I’m obsessed with that show.” (General murmurs of approval.) “Have you seen the one where he [kills someone in a mildly unpredictable way for morally dubious reasons]?” “That one is amazing.” Nobody says she is obsessed with Denis Johnson. My students love Dexter. I have watched enough episodes to conclude I do not love Dexter, though it’s an interesting case study, as it attempts to communicate the protagonist’s inner life. This is harder to do on the screen than on the page, and while I applaud the show’s writers for taking this aspect seriously, the character’s monologues strike me as clumsy and inorganic. They’re supposed to be funny, but they’re not funny. I have yet to find a voiceover that doesn’t make me cringe. As great as Vertigo is, the voiceover bums me out every time. I feel like Hitchcock doesn’t trust me — or his filmmaking — enough, and I’m thrown out of what John Gardner calls the “vivid and continuous dream.” If American Hustle wins a bunch of academy awards, it will be in spite of the lazy voiceover. Good fiction grants you sustained, nuanced entry into a character’s mind that is difficult to achieve on the screen. This is one of the reasons the best books rarely translate into transcendent films, no matter how many times studios try (e.g. The Great Gatsby). It’s also why some of the best films come from books that aren’t universally regarded (e.g. The Godfather). That The Godfather works better as a film than a book doesn’t diminish the story. Film and literature aren’t interchangeable, and watching the former isn’t necessarily going to help you write the latter. Indeed, it may give you some bad habits. In the classroom, I regularly find myself contradicting the students’ first teacher, the screen. Each Law and Order episode begins with the short dramatization of a crime. Those two minutes set the tone for the rest of the hour. The showrunner makes a contract with the audience before each episode: There will be a crime, it will be investigated, there will be red herrings, but the crime will be solved. Although the characters are more or less the same from episode to episode, the crimes are self-contained. Clearly, this formula works. It’s hard to find someone who hasn’t enjoyed an episode of Law and Order. I particularly enjoy the halcyon days of Special Victims Unit with Christopher Meloni, Mariska Hargitay, Ice-T, and BD Wong, whom I regard as a master of deadpan. What I don’t enjoy are short stories inspired by SVU. Meloni and Hargitay are fine actors, but on the show, their inner lives are straightforward. They’re driven by primal and singular impulses. The world they inhabit offers little complexity. Sex offenders are bad. Detectives are good. Sometimes good people have to do bad things to get bad guys; that’s about as morally ambiguous as the show gets. It also has a fetish for vigilantism that I don’t share. One of the most common student stories begins with a scene of violence. It’s unclear who is involved, or why they’re doing what they’re doing. Typically, nobody is named. There’s a space break signifying a leap in time and place, and then the story unfolds in a linear fashion. By the end, the villain (easier to spot than the writer imagines) is apprehended, often with a bit of insufferable banter. The story doesn’t work. My students didn’t learn this formula from reading. I reference the stories we read. Look where Raymond Carver starts his story. What is all of the protagonist’s furniture doing on the front lawn? Why does Mary Robinson have the strange woman stop by the house on the second page? Start the story as late in the action as you can, I tell my students. Make sure your protagonist wants something, even if only a glass of water. I tell them Kurt Vonnegut gave me this advice. Some of them read Slaughterhouse Five in high school. We’re getting somewhere. Did you read any of his other books? Blank stares. Ideally, the stories I assign and recommend will lead my students to read fiction on their own. Sometimes this happens. They take other classes with me, stop by my office hours, write me emails. Few things make me happier than students from past semesters soliciting books. I hope they’re still writing, but if they’re only reading, they’re enlarging their sense of human experience. They’re becoming more empathetic and, in turn, better brothers and sisters, sons and daughters, boyfriends and girlfriends. I believe this. Most students I never hear from again. We get fifteen weeks, twice a week, eighty minutes a class. It’s not a lot of time to inspire a lifetime of reading. It’s not a lot of time to give students a framework from which they might begin to construct meaningful stories on their own. Each student writes two stories for my class, but the time he or she spends thinking about the published stories I assign is arguably more important. Students who haven’t taken many writing or literature classes at the university will likely arrive with few reference points, and I treat each story as an opportunity to teach students about character or structure or language. When students reference television shows, I counter with stories. If the story isn’t protected by copyright, I’ll post a link to Blackboard. Anyone can read Anton Chekhov’s “Gusev” or James Joyce’s “Araby” or Alice Munro’s “The Bear Came Over the Mountain” for free online. Publishers mail me unsolicited books all of the time; I give the good ones to my students. Sometimes when students reference television shows, I go with it. I ask students what they like about the show and what, if anything, they might apply to their writing. If I admire the film they reference, and I think it offers something narratively rewarding, we discuss why. Occasionally, I reference a moment in a film, for better or worse. The Third Man delays the introduction of the antagonist in a way that’s supremely effective (it doesn’t hurt that Graham Greene wrote the screenplay). I rather like Lost in Translation, but the scene where Bill Murray whispers something unheard to Scarlett Johansson strikes me as a narrative betrayal. The writer and character, I’ve told them, shouldn’t know more than the reader. Like all teachers, I’m happy when students intelligently disagree. In their own stories, I encourage students to write something that makes them uncomfortable. If they’re going to write autobiographically, and many do, they have to be prepared to show their worst characteristics. Probably, the protagonist should do something stupid or ugly. That’s what the reader wants. If they’re going to make something up completely, and I encourage this, they have to move beyond formula. If they crib a violent scene from The Walking Dead, I give them Flannery O’Connor. It’s no less gruesome. My students are curious in my own tastes, to an extent. What do I like to watch? I tell them. I pair the film with a book. They want to know why the book is always better than the movie. They’re referring to Harry Potter or The Hunger Games. They’ve been told this so many times they believe it, even if they don’t see it personally. It’s because your imagination is so much more interesting than what’s on the screen, I tell them. They don’t buy it. Their interest wanes. The reader and the writer co-create the story, I insist. Reading is collaborative in a way that watching a screen isn’t. You prefer your image to the director’s, no matter how beautiful Jennifer Lawrence might be. You’re narcissistic that way. It’s okay. They nod reluctantly, like maybe it is.
1. Do we need another book about Vietnam? We already have some 30,000 non-fiction books about America's most horrific foreign misadventure, along with countless novels, histories, biographies, memoirs and movies. So the question must be asked: Do we really need more? The short answer is: Yes, we will always need to know more about the Vietnam War and other defining moments in our national narrative. It's an open-ended story that began with the arrival of the first Europeans and their brutal subjugation of the native populace, then continued on through the founding of the Republic, slavery, westward expansion, industrialization, wars (both foreign and domestic, victorious and not), the rise to the pinnacle of world power and, now, the inexorable decline of the American empire. We will always need fresh voices giving us fresh takes on this spectacular, ugly, rich, and ever-evolving story. So we should welcome Nick Turse's Kill Anything That Moves: The Real American War in Vietnam, a new work of history that argues, persuasively and chillingly, that the mass rape, torture, mutilation and slaughter of Vietnamese civilians was not an aberration – not a one-off atrocity called My Lai – but rather the systematized policy of the American war machine. These are devastating charges, and they demand answers because Turse has framed his case with deeply researched, relentless authority. This book's birth was an accident. Turse, author of The Complex: How the Military Invades Our Everyday Lives, was researching post-traumatic stress disorder in 2001 when he made a serendipitous discovery. One day at the National Archives, a friendly staffer posed a question: Could witnessing war crimes lead to post-traumatic stress disorder? Turse had never considered the possibility, but the archivist led him to the yellowing records of the Vietnam War Crimes Working Group, a secret task force that had been formed after the widely reported massacre of Vietnamese civilians at My Lai in 1968. The Working Group's forgotten records were a gold mine, and Turse dug right in. The first thing he learned as he pored through the files was that the task force was not put together to prevent future war crimes; its mission was to make sure that the military was never again caught off-guard by a war crimes scandal. The distinction is important for what it says about the Machiavellian workings of the American war machine. Given those workings, it's no surprise that hundreds of court-martial records were destroyed or went missing. Turse also learned that the military had succeeded in selling the lie that My Lai was an exception. As his research revealed, My Lai was "an operation, not an aberration," part of a pattern that contributed to a shocking statistic. During the years of America's involvement in Vietnam, by the most conservative estimates, more than 3 million people died violent deaths; 2 million of them were Vietnamese civilians. As Turse writes, "The War Crimes Working Group files alone demonstrated that atrocities were committed by members of every infantry, cavalry, and airborne division, and every separate brigade that deployed without the rest of its division – that is, every major army unit in Vietnam." Once he got through the Working Group files, Turse didn't stop. He scoured other files about war crimes investigations in the National Archives, he interviewed generals and top civilian officials, former war crimes investigators, veterans who had witnessed or committed atrocities. He read widely and deeply. He made several trips to Vietnam to interview survivors of the war. Like all good histories, the resulting book reads like a detective story, especially if you follow the dense endnotes as you move through the text. The evidence leads Turse to this damning but inescapable conclusion: The hundreds of reports that I gathered and the hundreds of witnesses that I interviewed in the United States and Southeast Asia made it clear that killings of civilians – whether cold-blooded slaughter like the massacre at My Lai or the routinely indifferent, wanton bloodshed like the lime gatherers' ambush at Binh Long – were widespread, routine, and directly attributable to U.S. command policies. Yet only a handful of men were brought to trial or punished for a staggering number of pointless civilian deaths. 2. In the interest of full disclosure, I should tell you that I was eager to read Turse's book because I share his fascination with the Vietnam War, and with the almost unfathomable missteps that turned it into the horror it became. My second novel, All Souls' Day, is built around the C.I.A.-backed coup that led to the assassination of South Vietnam's President, Ngo Dinh Diem, on Nov. 2, 1963, a day known to Diem and his fellow Catholics as All Souls' Day, or the Day of the Dead. My reading of history told me that this was a pivotal moment, a chance for America to cut its losses and extricate itself from a deepening quagmire. Three weeks after Diem's assassination, though, President John F. Kennedy was gunned down in Dallas and hawkish Lyndon Johnson was sworn in as President. Soon the serious killing would begin. The opportunity for withdrawal was lost. Thirty-three years later, shortly after I'd sold the manuscript and almost a year before All Souls' Day was published, my fictional enterprise received validation from a most unlikely source. Robert S. McNamara, defense secretary in the Kennedy and Johnson administrations and a prime architect of our Vietnam fiasco, published his long-awaited memoir, In Retrospect: The Tragedy and Lessons of Vietnam. One sentence in McNamara's book jumped out at me. It was not his maddeningly tepid apology – "We were wrong, terribly wrong." It was this: "I believe we could and should have withdrawn from South Vietnam either in late 1963 amid the turmoil following Diem's assassination or in late 1964 or early 1965 in the face of increasing political and military weakness." That single sentence gave me the gratifying feeling that my novel had hit on an important but little-noted truth. It was the sort of validation all novelists dream of, but few get to taste. Robert S. McNamara, of all people, had made me proud. 3. There is no doubt in my mind that Kill Anything That Moves belongs on the very highest shelf of books on the Vietnam War – up there with the non-fiction of Neil Sheehan, David Halberstam, Seymour Hersh, Jonathan Schell, and Frances FitzGerald, the memoirs of Michael Herr and Philip Caputo, the fiction of Bobbie Ann Mason, Robert Stone, Jayne Anne Phillips, Tim O'Brien, Ward Just, and, of course, Graham Greene. It's worth noting that in her magisterial history, Fire In the Lake: The Vietnamese and the Americans in Vietnam, FitzGerald made only passing mention of war crimes. "The (Johnson) administration, if it were to pursue its objectives, had very little choice but the strategy of attrition," she wrote. "And because of the very nature of the war, that strategy meant the attrition not only of enemy troops and military supplies but all Vietnamese. No one in the American government planned a policy of genocide. The American military commanders would have been shocked or angered by such a charge, but in fact their policy had no other military logic, and their course of action was indistinguishable from it." (Alas, FitzGerald's book did not appear until 1972, too late for its contextual lessons to be of any use to Harry Truman, Dwight Eisenhower, John F. Kennedy, Robert S. McNamara, Lyndon Johnson, Gen. William Westmoreland, Richard Nixon or any of the hundreds of others who shaped America's war policy from inside a bubble of nearly immaculate ignorance about the Vietnamese people and their history. FitzGerald has high praise for Turse's book, calling it "an important piece of history." So does Seymour Hersh, who calls it a "painful and important book.") Philip Caputo was with the first marines to land in Vietnam in 1965, and a decade later, as a war correspondent, he was among the last people evacuated from Saigon as the victorious communists closed in on the panicked city. Caputo wound up facing a court-martial when marines under his command miscarried orders and deliberately shot two suspects. Caputo was acquitted and eventually received an honorable discharge. In his memoir, A Rumor of War, here's how he described America's military strategy: General Westmoreland's strategy of attrition also had an important effect on our behavior. Our mission was not to win terrain or seize positions, but simply to kill: to kill communists and as many of them as possible. Stack 'em like cordwood. Victory was a high body-count, defeat a low kill-ratio, war a matter of arithmetic. The pressure on unit commanders to produce enemy corpses was intense, and they in turn communicated it to their troops. This led to such practices as counting civilians as Viet Cong. 'If it's dead and Vietnamese, it's VC,' was our rule of thumb in the bush. It is not surprising, therefore, that some men acquired a contempt for human life and predilection for taking it. This contempt for the lives of the Vietnamese, as Turse points out, led American soldiers to abide by what was widely known as the Mere-Gook Rule, or MGR. "This," Turse writes, "held that all Vietnamese – northern and southern, adults and children, armed enemy and innocent civilian – were little more than animals, who could be killed or abused at will." Before reading this book, I had believed that the racial epithet "gook" was coined by American soldiers in Vietnam. Turse, in one of many deft touches, cured me of this illusion. He writes that the word originated during the campaign in the Philippines at the turn of the 20th century, when American soldiers disparaged the natives as "goo-goos" and proceeded to slaughter 600 unarmed Moros. Mark Twain called those soldiers "our uniformed assassins," and he dubbed their proto-My Lai "a long and happy picnic." In time "goo-goo" morphed to "gook," and the results became far more deadly. 4. In the title essay of his collection called The Braindead Megaphone, George Saunders dissected America's tendency to rush into wars in places it knows little about. He was talking about our current, never-ending war in Iraq, but his words are almost eerily applicable to Vietnam: A culture capable of imagining complexity is a humble culture. It acts, when it has to act, as late in the game as possible, and as cautiously, because it knows its own girth and the tight confines of the china shop it's blundering into. And it knows that no matter how well-prepared it is – no matter how ruthlessly it has held its projections up to intelligent scrutiny – the place it is headed for is going to be very different from the place it imagined. The shortfall between the imagined and the real, multiplied by the violence of one's intent, equals the evil one will do. Paul Fussell put it more succinctly: "Every war is ironic because every war is worse than expected." As Turse has made clear, the Vietnam War was much worse than expected – partly because of the astonishing resolve of America's enemies, but mainly because of the ignorance and the brute ruthlessness that beat in the heart of America's war machine. Kill Anything That Moves should be required reading in every school, military academy and governmental office in the land. Not that it will stop us from blundering into the next war. Again, George Saunders summed it up, in an essay called "Mr. Vonnegut in Sumatra." He was writing about Slaughterhouse Five, but he could have been writing about Kill Anything That Moves: No, war will not be stopped. But it is a comfort, in the midst of a war, to read an antiwar book this good, and be reminded that just because something keeps happening, doesn't mean we get to stop regretting it. Massacres are bad, the death of innocents is bad, hate is bad, and there's something cleansing about hearing it said so purely. So this is why we're still reading about Vietnam: because the truth, purely told by writers as gifted as Nick Turse, is the only thing that has the power to cleanse us.
1. A friend of mine told me this story. He was sitting in a medical office waiting to get a CAT scan, trying to read Vladimir Nabokov’s novel Pnin. He’d started the book some years before, then lost it, found it again, and started over. He didn’t like it all that much (it wasn’t as good as Lolita or Pale Fire, the novels that had driven him to pick it up in the first place), and as he sat there reading in the waiting room, he thought about the CAT scan he was about to undergo. I may have only a few months to live, he thought. Is this the book I want to spend my remaining hours on? 2. My friend is fine, it turns out. The CAT scan came back normal. But as he told me this story, I thought back to a recent evening when I lay in my bed reading The Pale King, David Foster Wallace’s unfinished novel. Like Wallace’s oeuvre in general, the book has some absolutely stunning sections that command your attention and make you feel intensely alive and aware (see chapters 6, 19, 22, or 46, e.g.), along with some that drive you batty with their dullness and perseverating detail. I was struggling with the long, tedious section in which “David Wallace” is caught in a traffic jam outside the Peoria IRS office. In the next room, my two daughters, five and seven, were not going to sleep. I was getting more and more irritated with them and their demands for water, etc., which kept interrupting me from concentrating on the book. Underlying my irritation was another anxiety: my sense that here I was, yelling at my kids to go to sleep just so that I could finish reading something that I myself found incredibly boring, a book that I had no practical need to read, a book whose own author had committed suicide before he was able to finish. A precious, irreplaceable moment of my own life was slipping away. I was declining a chance to interact with my children in a more positive way. And why? To read something that might best have been left on the cutting room floor. 3. I’ve read a fair number of short story collections. In most of them, there’s at least one and usually several stories that seem so clearly inferior to the rest that I have to wonder, Why is this in here? Does the author know that this story is bad? Is it here merely to serve as filler? These questions remind me of an old Kurt Vonnegut appearance on Charlie Rose in which Vonnegut explains that he has graded all of his own novels. Cat’s Cradle and Slaughterhouse-Five received A pluses. Slapstick got an F. The book he was on the show to plug at the time (I think it was Timequake) was a B minus. Vonnegut’s admirable candor makes me think that writers must have a sense of the relative merits of their works. Indeed, the placement of mediocre stories in short story collections is usually a good indicator of the grade the writers would give them. Such stories tend to be buried in the middle of the second half of a collection, or sandwiched in between two more successful pieces. But why publish them at all? Why not spare us readers that experience of feeling that we’re spending finite moments of our lives on something that is less than the best? 4. Zadie Smith wasn’t addressing these particular questions at the time, but she pointed nevertheless to one answer to them when she wrote that “writers do not write what they want, they write what they can.” If Vonnegut could have written nothing but A pluses, he would have. He couldn’t, however. No writer can. Yet Vonnegut still had contracts to fulfill, bills to pay. He had to publish books. It was in his job description. Moreover, I suspect that, for Vonnegut and for most writers, there comes a time when they just need to accept that a novel or a story or a song is as good as it’s going to get, even if it’s not an A plus. The book needs to come out. The collection of stories needs to be a certain length. The writer’s time has been spent on the piece, for good or ill. It might as well see the light of publication as long as someone is willing to publish it. Who knows: some reader or critic might actually like it. Even if no one does, the writer needs to move on to the next story, the next novel. 5. It’s a delicate calibration. When do we, as writers, accept that a piece is as good as it will ever be, even if it’s not that great? When do we decide that a piece will never be good enough to be published? As readers, when do we decide that a book or a story is simply not going to be worth reading? When do we decide to press on in the face of boredom? The CAT scan might come back normal, but in the larger sense, we’re all dying anyway. Our lives as writers, as readers, as human beings, will come to an end. What we write, what we read, what we spend our time on—these are incredibly weighty choices, though we may fool ourselves into thinking otherwise. There’s a danger in perfectionism, in the compulsive attempt to make every novel and story and essay an A plus, or to finish reading everything we start. Yet there’s also a danger in easy abandonment, in the lack of persistence needed to push through the slow parts of War and Peace or Infinite Jest, or in the lack of writerly belief in one’s powers of revision and discovery. In this way, as in so many others, writing and reading are metaphors for living. In the end, you do the best you can, and then, in one way or another, you let it go and move on. (Image: fading contrail from dnorman's photostream)
If 2010 was a literary year of big names -- featuring Franzen, Mitchell, Delillo and McEwan to name just a few -- 2011 is lining up to be more subtle. Amid a very full lineup of intriguing forthcoming books, just one stands above the rest in terms of hype and anticipation, a literary peak that's likely to be bittersweet in the form of the posthumous release of David Foster Wallace's final novel. Readers will be hoping it does justice to his legacy. In the shadow this big book are many others likely to be deserving of readers' time. While 2010 was given over to the headliners, 2011 may be a year of new discoveries. Here are some of the books we're looking forward to -- 8,000 words strong and encompassing 76 titles, this is the only 2011 book preview you will ever need. January or Already Out: Gryphon by Charles Baxter: A collection of short fiction from an acknowledged master of the form. Seven of the twenty-three stories in the collection are new; others, including the title story, are considered classics. In each of these pieces, Publisher's Weekly writes in a starred review, "the acutely observed real world is rocked by the exotic or surreal." Baxter's previous works include four novels (including a National Book Award nominee, The Feast of Love) and four prior short story collections. (Emily M.) The Empty Family by Colm Tóibín: Tóibín follows up his wildly successful 2009 novel Brooklyn with a new collection of nine short stories concerned with love and loss, memory and homecoming. The Telegraph has called this collection "exquisite and almost excruciating." (Emily M.) While Mortals Sleep by Kurt Vonnegut: In the four years since his death, the Vonnegut vaults have been raided, yielding 2008’s Armageddon in Retrospect and 2009’s Look at the Birdie. Now comes While Mortals Sleep, 16 more unpublished pieces described by Delacorte Press as “a present left behind by a departed loved one.” Perhaps. But Vonnegut’s short fiction was generally uneven, and one might be forgiven for wondering how many more presents there are. Because the further we move from his passing, the further we move from his best. Dave Eggers, in the book’s foreword, calls Vonnegut “a hippie Mark Twain”; he is also in some danger of becoming a dorm-lit Tupac Shakur. (Jacob) Night Soul and Other Stories by Joseph McElroy: Underappreciated master McElroy is known (and loved) for the challenging body of work, and these stories aren't likely to disappoint his fans, though they may have come across some of them before. The oldest story in this collection of 12 dates back to 1981 and the title story was first published in 1982. But seven of them are reportedly from the last decade, including one "The Campaign Trail" which one early review describes as imagining "the 2008 Democratic presidential primary much like a Matthew Barney film of the subject might: unnamed figures representing Hillary Clinton and Barack Obama ceremonially confront each other in a wild area of what once was Canada." (Max) February: Swamplandia! by Karen Russell: Swamplandia! is the first novel from New Yorker "20 Under 40" writer Karen Russell. It builds out of a short story from her 2006 collection St. Lucy's Home for Girls Raised by Wolves and tells the tale of the Bigtree family, operators of an alligator wrestling tourist attraction deep in the Everglades. The family business is imperiled when the star 'gator grappler dies, setting off a chain of catastrophes that lead 12-year-old Ava Bigtree to set off through the swamp in search of her lost sister Osceola. (Kevin) Townie: A Memoir by Andre Dubus III: Andre Dubus III, of The House of Sand and Fog fame, grew up poor and hard in a Massachusetts mill town. His famous father, the late great short story writer Andre Dubus was AWOL, chasing younger tail, leaving Dubus and his three siblings to the care of their loving but overworked mother. The Townie is Dubus's memoir of growing up and learning to fight before he learned to write. Advance word coming out of Kirkus and Booklist suggests this is going to be a good one. (Kevin) When the Killing's Done by T.C. Boyle: In his thirteenth novel, T.C. Boyle turns his attention to the Channel Islands off the coast of Santa Barbara and the practice of killing non-native fauna in an effort to protect the original ecosystem. A starred review in Booklist says, “Incisive and caustically witty, Boyle is fluent in evolutionary biology and island biogeography, cognizant of the shared emotions of all sentient beings, in awe over nature’s crushing power, and, by turns, bemused and appalled by human perversity.” (Edan) The Strange Case of Edward Gorey by Alexander Theroux: Originally published in paperback in 2000, this biography of writer and illustrator Edward Gorey is being reissued by Fantagraphics Books in a new hardcover edition. Gorey was a reclusive, enigmatic figure who never married, professed asexuality in interviews, and became famous for a twisted and faintly ominous body of work -- marked by a distinctive Victorian Gothic sensibility -- that includes an alphabet book of dead children ("A is for Amy who fell down the stairs.") Alexander Theroux was Gorey's friend and neighbor for more than a quarter century. Part biography, part artistic analysis, and part memoir of a long friendship, with exclusive interviews conducted shortly before Gorey's death, this book is generally accepted as the most comprehensive portrait of Gorey ever written. (Emily M.) Mr. Chartwell by Rebecca Hunt: Perhaps you are aware that Winston Churchill called his spells of depression "black dog"? Well, Mr. Chartwell is that black dog--literally, he's a man-sized, ill-intentioned black laborador. In Rebecca Hunt's fabular first novel, Mr. Chartwell rents a room in a terrace in Battersea from a recently widowed young librarian named Esther Hammerhans: the black dog has business with the widow and with the war-weary Prime Minister. British reviewers have been quite taken with the book's whimsy and its muscular grappling with the nature of depression—through the stinking, canine bulk of Chartwell himself and the dark philosophy he whispers such that only his intended victim can hear. (Emily W.) The Illumination: A Novel by Kevin Brockmeier: A new novel from the author of A Brief History of the Dead asks the question: What if our pain is the most beautiful thing about us? On a particular Friday night at 8:17pm, the Illumination commences: wounds and bruises begin to radiate light, to glimmer and shine. The Illumination follows the journey of a private book, a journal of love notes written by a man for his wife. The journal passes into the hands of a hospital patient following a lethal accident, and as it passes from hand to hand—to a data analyst, a photojournalist, a child, a missionary, a writer, a street vendor—the recipients find their lives subtly altered by their possession of the book. (Emily M.) Portraits of a Marriage by Sándor Márai: Sándor Márai is one of those novelists, like Irène Némirovsky, about whom those of us in the English-speaking community tend to employ words like "discovered," as if they were an obscure wine of quality unearthed in a Parisian basement. When Márai killed himself in 1989 in San Diego, shortly before his books began being translated to English, it's true that his status as a great mind of an imperial age was probably unknown to the gang at his local Circle K. However, the (Austro-)Hungarian novelist was one of the premier authors of his milieu--Budapest before World War II--and English readers are the redeemed rather than the redeemers now that we can finally read his beautiful novels. Portraits of a Marriage is a chronicle of a relationship and an era on the way out. (Lydia) West of Here by Jonathan Evison: Evison's new novel is the #1 Indie Next pick for February, meaning that independent booksellers across the United States have voted it their favorite of all the books scheduled for publication that month. Set in a fictional town on the Pacific coast of Washington State, West of Here moves back and forth in time between the stories of the town's founders in the late 1890s, and the lives of their descendants in 2005. It's a structure that allows for a remarkably deep sense of history and place, and Evison handles the sweeping scope of his narrative masterfully. (Emily M.) The Evolution of Bruno Littlemore by Benjamin Hale: In this buzzed-about debut novel from Twelve Books, the eponymous hero is a chimpanzee who has learned to speak, read, and enjoy the visual arts, among other human endeavors. There is apparently interspecies love (and sex!) in the book, and the jacket copy declares that it goes beyond satire “…by showing us not what it means, but what it feels like be human -- to love and lose, learn, aspire, grasp, and, in the end, to fail.” A bookseller at legendary West Hollywood indie bookstore Book Soup has raved to me about the novel’s inventiveness and its beautiful, beautiful prose. (Edan) Other People We Married by Emma Straub: This debut collection of stories is one of the first books being printed by FiveChapters Books, the new publishing imprint of the popular website FiveChapters, which publishes a story a week in five installments. Straub inaugurated the New Novella series for Flatmancrooked Press with her much-praised novella, Fly-Over State, and she proved that with the internet and some good old fashioned charm, an unknown author can sell books and win hearts. Straub’s new book includes that novella as well as eleven other stories. Straub has been compared to Lorrie Moore for her humor and playful wit, and Moore herself has called this debut collection, “A revelation.” (Edan) March: The Late American Novel: Writers on the Future of Books edited by C. Max Magee and Jeff Martin: Yes, there's certainly a conflict of interest in naming my book one of the year's most anticipated, but what's the point of having a website if I can't use it to self-promote? And anyway, if my co-editor Jeff and I had an ideal reader in mind when we put together this collection, it was the Millions reader, passionate about books and reading and thoughtful about the future of this pastime as it intersects with the onslaught of technology. The essays we managed to gather here are illuminating, entertaining, funny, and poignant, and taken together they form a collection that is (dare I say) essential for the reader and writer invested in books at this critical and curious moment in their long history. Along with appearances by Millions staffers Garth Risk Hallberg, Emily St. John Mandel, and Sonya Chung and an introduction by me and my co-editor, this collection includes pieces by Jonathan Lethem, Reif Larsen, Elizabeth Crane Victor LaValle, Ander Monson, Tom Piazza, Lauren Groff, Benjamin Kunkel, Clancy Martin, Joe Meno, Rivka Galchen, and several others. All you technophiles: Consider making this the last physical book you ever buy. All you technophobes: This might be a good candidate for the first ebook you ever own. (Max) You Think That’s Bad by Jim Shepard: Jim Shepard will once again dazzle us with his talent for universalizing the highly particular. According to the publisher, the stories in this new collection, like those of his National Book Award nominated Like You’d Understand Anyway, “traverse centuries, continents, and social strata,” featuring, among others, an Alpine researcher, a French nobleman’s manservant, a woman traveling the Arabian deserts to track an ancient Shia sect, and the inventor of the Godzilla epics. Further, Shepard culls “the vastness of experience—from its bizarre fringes and breathtaking pinnacles to the mediocre and desperately below average.” Easier said than done, and Shepard is a master. One of the stories, “Boys Town,” appeared in the November 10 issue of the New Yorker. (Sonya) The Tiger's Wife by Tea Obreht: Of all The New Yorker’s choices for the "20 Under 40" list, none was more surprising than Obreht, the youngest on the list and the only author chosen who had not yet published a book. That changes in March with the publication of her debut novel The Tiger’s Wife. The novel follows a young doctor, Natalia, as she travels to a war-torn Balkan country to work at an orphanage. But Natalia is also in search of answers – specifically, what happened to her grandfather, who has died recently. With blurbs from T.C. Boyle, Ann Patchett, and recent National Book Award winner Colum McCann already secured, expectations are high for this literary debut. (Patrick) At the Fights: American Writers on Boxing from Library of America edited by George Kimball and John Schulian: Boxing writing inhabits a curious niche, resting at the juncture of sports journalism and noir. Perhaps “resting” is the wrong word, as the genre’s best examples rush toward victory or loss; even away from the arena, motion remains the thing. In a recent Irish Times article, Kimball described a 1954 John Lardner piece as At the Fights’ “cornerstone,” and delivered its opening line: “Stanley Ketchel was 24 years old when he was fatally shot in the back by the common-law husband of the lady who was cooking his breakfast.” Also on the card: Talese, Mailer, Mencken, and many, many others. (Jacob) Unfamiliar Fishes by Sarah Vowell: “I’m better with dead people… than the living,” claims Sarah Vowell, only half joking. Her books often deal with historical figures, in most cases, long-dead and overlooked. In Assassination Vacation she chronicled her travels while researching the murders of Presidents Lincoln, Garfield, and McKinley. Details such as Garfield’s assassin bursting into song during trial coated the history lessons with a good dose of social intrigue. Vowell’s latest, Unfamiliar Fishes, was borne out of a fascination with American Imperialism in 1898, a year when the U.S, annexed Hawaii, invaded Cuba and the Philippines, and acquired Guam and Puerto Rico. Vowell follows the Americanization of Hawaii from its first missionary settlers to the overthrow of its monarchy and later annexation. A quote exemplary of Vowell’s humor, to prep you for reading: “They still love their last queen, celebrate her birthday, drape her statue with leis. It can be a traditional, reverent place. And I am a smart-alecky libertine.” (Anne) Otherwise Known as the Human Condition: Selected Essays and Reviews by Geoff Dyer: Dyer has a gained a reputation as one of our most inventive essayists (not to mention novelists). Dyer delights in bending genres and subverting expectations, and covering a 25-year span, this collection will likely showcase Dyer's impressive range. The book, published by indie Graywolf, appears to have at least some overlap with a British collection that came out last year under the title Working the Room. The Guardian called Dyer "the most productive of slackers" and described the British collection as seeming to be "constructed as a vague quest. You move through the unusually lit rooms of the author's fascinations." (Max) All the Time in the World: New and Selected Stories by E.L. Doctorow: When a new story collection arrives from an elder master, one is eager to know the balance of “new” versus “selected,” who has done the selecting, and by what criteria. But Random House has revealed little as of yet. We do know that six of the stories have never before appeared in book form; the title story appeared in the winter ’09 issue of the Kenyon Review. Doctorow is the author of 11 novels, and I for one hate to think the release of this collection signals a denouement in his novel production. On January 6, Doctorow turns 80 – happy birthday, ELD; may this be a productive year for you, for all our sakes. (Sonya) Pym by Mat Johnson: Eager readers of Edgar Allan Poe, having dispatched his short stories may have then turned to his hauntingly weird novel The Narrative of Arthur Gordon Pym of Nantucket. As I noted a few years back, the book has been an inspiration for generations of adventure and science-fiction writers and has maintained a cultish allure to this day. It is into this milieu that Johnson's Pym arrives. Johnson wrote a pair of well regarded literary novels in the early part of last decade, turned to comics, and is now returning novels with this tale of a literature professor obsessed with the Pym tale, believing it to be true, and tracing the the journey of the doomed sailor to see what secrets might be unlocked. (Max) Day of the Oprichnik by Vladimir Sorokin: The scenes of sodomy between Stalin and Krushchev in Vladimir Sorokin’s novel Blue Lard incurred charges of pornography and sparked protests, which included protestors wearing latex gloves while tossing flowers and copies of Sorokin’s books into a papier mâché toilet. Another novel of Sorokin’s (The Norm) depicts a Russian society where coprophagy is a la mode and only outcasts and outsiders refuse to partake. Needless to say, Sorokin’s fiction isn’t restrained in its critique of contemporary Russian society. His commentary continues in his latest novel, Day of the Oprichnik, where the ruling classes incorporate futuristic technology alongside the governing strategies of Ivan the Terrible. As Sorokin describes: “I just imagined what would happen to Russia if it isolated itself completely from the Western world--that is, if it erected a new Iron Curtain…. This would mean that Russia would be overtaken by its past, and our past would be our future.” (Anne) This Vacant Paradise by Victoria Patterson: Victoria Patterson follows her acclaimed debut story collection Drift with a novel – her first – set in the posh environs of 1990s Newport Beach, California. As the title suggests, Patterson’s novel promises a social critique of the often vapid, money-laden 90s. It follows the beautiful but aging Esther Wilson as she attempts to navigate life without the aid of a wealthy man on her arm. Drift was a finalist for both the California Book Award and the Story Prize. (Patrick) The Art of Asking Your Boss for a Raise by Georges Perec: Georges Perec wrote: “for us, who continue to have to do with a human race that insists on thinking, writing and above all publishing, the increasing size of our libraries tends to become one real problem.” We readers will have to deal with the fortunate burden of clearing shelf-space for another novel by Perec this spring, with the first English translation of The Art of Asking Your Boss for a Raise. The novel depicts an office underling’s attempts to ingratiate himself to his corporate superiors, while his neuroses expand a la Woody Allen. If Perec’s astutely observed yet darkly comical catalogue of managing directors, magnates, and heads of state in his essay “The Holy of Holies” is any indication, this “account of the office worker’s mindset” will offset the disorder it imposes. (Anne) April: The Pale King by David Foster Wallace: When David Foster Wallace died in 2008, he left behind a huge, fragmentary manuscript set in and around a Midwestern IRS office and featuring a character named David Wallace. The manuscript, quixotically, takes monotony as its master-trope, much as Infinite Jest used "entertainment." Since then, Michael Pietsch, Wallace’s real-life editor, has been working to arrange the fragments in book form. Published excerpts of varying degrees of sublimity - reportedly including two stories from Oblivion - offer glimpses of a Jest-like complex of supporting characters. But these beleaguered office workers have more in common with the denizens of the Ennet House Drug and Alcohol Recovery House (redundancy sic) than with the Enfield Tennis Academy’s student-athletes. A note, quoted in D.T. Max’s New Yorker piece, hints at the gift Wallace wanted to give his characters: “Bliss - a-second-by-second joy and gratitude at the gift of being alive, conscious - lies on the other side of crushing, crushing boredom.” For readers still mourning the books he didn't get to write, may it be so. (Garth) The Free World: A Novel by David Bezmozgis: Another debut novel from a Twenty-Under-Forty'er, Bezmogis' The Free World tells the story of three generations of the Krasnansky family as they try to escape Communist Russia for the United States. They are waylaid in Rome where the characters pursue different paths through the underbelly of their adopted city, ultimately bringing them into tension with each other as they grapple with a merciless immigration system and try to decide the family's fate. (Kevin) The Great Night by Chris Adrian: Chris Adrian's last novel, The Children's Hospital, showed him to be a writer of immense daring, curiosity, and heart. Along with two other books, it earned him a spot (by a whisker – he’s now 40) on The New Yorker's "20 Under 40 List." His new book The Great Night, looks back to one of magical realism's forebears: Shakespeare. It's a retelling of A Midsummer Night's Dream, set in modern-day San Francisco’s Buena Vista Park. (Garth) Someday This Will Be Funny by Lynne Tillman: As if the publication of Lynne Tillman’s first book of short stories in nearly ten years--and her first book following her stand-out novel, American Genius: A Comedy--weren’t enough to celebrate, Tillman’s Someday This Will Be Funny also marks the debut of Richard Nash’s new publishing venture, Cursor. If Nash’s reading list, interviews, and speeches are any indication, Cursor will take publishing one giant leap into the future, with Tillman’s book at the forefront. Tillman’s new collection features appearances by Madame Realism, Marvin Gaye, and Clarence Thomas and incorporates epistle, quotation, and haiku as the stories “bounce between lyrical passages of lucid beauty, echoing the scattered, cycling arpeggio of Tillman’s preferred subject: the unsettled mind.” Tillman once said in an interview: “Writers are promiscuous with experience, absolutely.” She’s a woman of her word, and of the word. Hear, hear! (Anne) Between Parentheses: Essays, Articles and Speeches 1998-2003 by Roberto Bolaño: Anyone who read “Literature + Illness = Illness” or “Myths of Chulu” in last year’s collection The Insufferable Gaucho can attest that a Bolaño essay no more resembles Montaigne than a Bolaño novel resembles Samuel Richardson. Indeed, the closest cousin of Bolaño’s nonfiction may be his fiction, and in some cases it’s hard to tell which is which. Confusion over the genre of the short piece “The Beach” (essay? story?) seems to have been the source of the misconception that Bolaño was a recovering junkie. Either way, though, it’s phenomenal writing – a single, extended, coruscating sentence – and it appears in this Natasha Wimmer translation of a 2004 Anagrama volume, along with 340 other pages of uncollected, unclassifiable Bolaño. (Garth) The Tragedy of Arthur by Arthur Phillips: Phillips hasn't quite recaptured the buzz that accompanied Prague his debut novel about expats in Budapest, but this new book just may. "The Tragedy of Arthur" is a fictional (or is it?), lost Shakespeare play about King Arthur and it is accompanied by a long introduction penned by a character (or is it the author?) named Arthur Phillips. Intertextual games ensue. (Max) The Long Goodbye by Meghan O'Rourke: In another memoir about grief, O'Rourke draws on her dual patrimonies as a poet and cultural critic. The result is a searching account of losing her mother to cancer. O'Rourke finds herself blindsided by her own grief and bewildered by her inability to "share" it. Even as she documents her own feelings, she examines the changing cultural role of grief, and comes to long for the mourning rituals that are even now vanishing. The interplay of the objective and the subjective here speaks to audiences of both Oprah and The New Yorker, where the book was excerpted. (Garth) The Basement of the Ivory Tower by Professor X: To begin, a short exemplary excerpt from Professor X's manifesto against higher education for all: "America, ever-idealistic, seems wary of the vocational-education track. We are not comfortable limiting anyone’s options. Telling someone that college is not for him seems harsh and classist and British, as though we were sentencing him to a life in the coal mines. I sympathize with this stance; I subscribe to the American ideal. Unfortunately, it is with me and my red pen that that ideal crashes and burns." And let me tell you (because I have wielded that red pen and know Professor X's bloody business: adjuncting and community college teaching) it is a sad, sad world out there in America's lesser colleges, many as crassly business-minded as Walmart and utterly delighted to have students who aren't cut out to make the grade. Of course, liberal-minded idealists will object and cry Barbara Covett! at the likes of Professor X, but having been in his trench, I know how deeply painful and demoralizing—and pointless and dishonest—it is to teach college-level curriculum to those who are not equipped for high school: It's like trying to teach the legless to dance. This is another commentary on the shoddy state of American higher education (see also, most recently, Ed Dante's "Shadow Scholar" piece at The Chronicle of Higher Ed)—sure to be an incendiary little book. (Emily W.) The Uncoupling by Meg Wolitzer: Wolitzer’s ninth novel is inspired by Lysistrata, the ancient Greek play wherein the women withhold sex from their menfolk until they agree to end their war. In Wolitzer’s novel, a New Jersey high school puts on a production of the play, and soon, the females in the town lose interest in coupling with their men. The Uncoupling follows Wolitzer’s bestselling novel The Ten Year Nap, about the lives of stay-at-home mothers in New York City, and I hope her latest is as funny, readable and wise as that book was. (Edan) Fire Season by Philip Connors: This debut nonfiction effort by Connors is an account of his time spent over part of each of the last ten years as a fire lookout in New Mexico in a 7' x 7' tower. Connors also happens to be a literary critic and journalist whose writing has been fairly extensively published, including book reviews in the LRB and VQR. Some of his most powerful work has taken the form of diaries, including one in n+1 that recounts his brother's suicide and another in The Paris Review about life as a fire lookout. The book takes the diary form and expands on it, with five long chapters, each one dedicated to a month he spends in the lookout tower each year. (Max) My New American Life by Francine Prose: Francine Prose, former National Book Award finalist and prolific producer of novels, short stories, children's books and nonfiction, will take us on a fictional tour of the bad old days of Bush-Cheney. My New American Life spins around Lula, a 26-year-old Albanian living in New York City on an expiring tourist visa. When she lands a job as a caretaker for a rebellious teenager in suburban New Jersey, she begins to live the American dream -- until her brothers show up in a black Lexus SUV, a jarring reminder that family and history are always with us. The novel, according to the publisher's jacket copy, captures the moment when American "dreams and ideals gave way to a culture of cynicism, lies and fear." (Bill) Swim Back to Me by Ann Packer: Ann Packer, who first burst onto the scene in 2002 with her blockbuster debut The Dive from Clausen's Pier, returns with a fourth book. Kirkus describes it as a novella and five stories in its starred review, while the publisher calls it a collection of narratives framed by two linked novellas. Whichever the case, the collection seems likely to investigate the same avenues of grief that have been a hallmark of her prior, powerful work. (Max) Bullfighting by Roddy Doyle: The title story of Doyle's collection appeared in the New Yorker in early 2008 and concerns a collection of middle-aged Irish guys blowing off steam on a guys' trip to Spain, wives and kids left behind in Dublin. When I traveled to the Mediterranean later that year and saw many a seaside watering hole advertising the "Full English Breakfast," I thought of this story. (Max) Nat Tate: An American Artist: 1928-1960 by William Boyd: Boyd, a wonderful author (Any Human Heart, Brazzaville Beach) who for whatever reason doesn't seem to get much attention outside of prize committees, made culture vultures everywhere feel like complete assholes in 1998, when he carefully constructed and published a life of a fictional American artist who died by suicide at age 32. Enlisting the help of David Bowie, Gore Vidal, and others, Boyd had a number of people who should have known better reminiscing about Tate and lamenting his early death. Evidently a lot more people would have looked a lot more stupid had David Lister (an editor at The Independent who knew about the ruse), not revealed the hoax prematurely. Boyd's great literary hoax is to be reissued this April. (Lydia) Say Her Name by Francisco Goldman: A year after the publication of his last novel, The Divine Husband, Francisco Goldman watched his wife of two years, the promising young writer Aura Estrada, die as a result of a freak body-surfing accident. The aftermath sent him back to journalism for a time. Now Goldman has trained his considerable novelistic powers directly on the tragedy of his wife’s death, and on the ineffable continuities among love, grief, and art. (Garth) There Is No Year by Blake Butler: Butler, one of the minds behind HTML Giant and author of the indie press favorite Scorch Atlas hits the big time with this new novel. The Harper Perennial catalog glosses it as evocative of House of Leaves and the films of David Lynch. A more iconoclastic "20 Under 40" list might have made room for Butler, and as for Harper's labeling 32-year-ole Butler "one of the voices of his generation," that may say more about how apocalypse-minded we are these days than it does about Butler. (Max) May: Blue Collar, White Collar, No Collar: Stories of Work edited by Richard Ford: We've reminisced in the past about the steady disappearance of the short story anthology. Once common, these pocket-sized wonders now fill shelves at the kind of used bookstore I like to haunt but are rarely seen on the new release table at your local Borders. Still, a timely theme in these economically stagnant times (employment or lack thereof) and the imprimatur of a master of the form, Richard Ford, make this collection worth looking out for. Sure, most if not all of these stories have been previously published in other books, but how nice to have Stuart Dybek, Edward P. Jones, Charles D’Ambrosio, Ann Beattie, Alice Munro, John Cheever, Richard Yates, Deborah Eisenberg, Jhumpa Lahiri, and several others, all thematically linked and between two covers. (Max) Embassytown by China Mieville Give China Mieville credit for refusing to rest on his laurels. After scoring a major hit with last year's Kraken, his seventh lushly imagined fantasy novel, Mieville will abandon the world of Bas-Lag and his phantasmagorical London and take his fans someplace altogether different and unexpected. Embassytown, he recently told a Liverpool audience, will contain "science fiction, aliens and spaceships." The title refers to "a city of contradictions on the outskirts of the universe" where humans and the native Hosts live in uneasy peace. When an unimaginable new arrival hits town, catastrophe looms. Given Mieville's track record, expect a wild ride. (Bill) Mondo and Other Stories by J.M.G. Le Clezio: The 2008 Nobel laureate's large body of work continues to make its way into English. This collection of stories was first published in French in 1978. One of the stories collected here, the atmospheric "The Boy Who Had Never Seen the Sea," appeared in the New Yorker shortly after Le Clezio's Nobel win. Like that story, the rest in this collection focus on a child protagonist who seems to see the world through a different set of eyes. (Max) To Do: A Book of Alphabets and Birthdays by Gertrude Stein: Described as “a fanciful journey through the alphabet” and originally conceived as a children’s book, Stein’s To Do “spiral[ed] out of simple childlike progression, so that by the time she reached the letter H, Henriette de Dactyl, a French typewriter (who exchanges typed messages with Yetta von Blickensdorfer, a German typewriter, and Mr. House, an American typewriter) wants to live on Melon Street and eat radishes, salads, and fried fish, and soup.” Written in 1940, the book was rejected several times by publishers for being too complex for children. A text-only version appeared in 1957 (after Stein’s death) from Yale, and in 2011, the publisher is putting out To Do with Giselle Potter's illustrations, realizing Stein’s original concept. (Sonya) Paying for It by Chester Brown: Throughout his twenty-year-long career, Chester Brown has developed a reputation as a wan and fearless confessor, presenting his lapses and failures from a dispassionate remove. Paying For It—subtitled “A Comic-Strip Memoir About Being a John”—may prove to be his most quietly self-lacerating. In exploring his penchant for prostitutes, Paying For It will likely feature little glamour, little boasting, and an understated honesty. Drawn and Quarterly predicts that the book “will be the most talked about graphic novel of 2011,” yet Brown doesn’t seem to relish controversy. When asked in 2004 why he might write so openly about his sex life, he responded, “Because it’s interesting.” (Jacob) The London Train by Tessa Hadley: Stalwart of the fiction section of The New Yorker, Hadley's latest is described as a "novel in two parts." An early review in the Financial Times calls the book "darkly elegant" with "two distinct halves reflecting, enhancing and informing each other. The social and geographical territory is familiar for Hadley, that of the bourgeoisie and their travels (and travails) as they go looping between London and Cardiff." (Max) Pulse by Julian Barnes: Barnes's latest is his third book of short stories. A preview from The Spectator explains the collection's over-arching theme: "Each character is attuned to a ‘pulse’ – an amalgamation of a life-force and an Aristotelian flaw. They struggle against or thrive upon the submerged currents of life – touched by ambition, sex, love, health, work and death." (Max) The Tao of Travel by Paul Theroux: Theroux, the aging, still entertaining rake of the travel writing genre will indulge in a potentially interesting exercise here, collecting "the best writing on travel from the books that shaped him," from Samuel Johnson, Eudora Welty and Mark Twain to Peter Matthiessen, Pico Iyer, and John McPhee. Cheesy title aside, it certainly sounds like an essential tome for travel writing fans. (Max) June: State of Wonder by Ann Patchett: Ann Patchett has fearlessly ignored the admonition to write what you know. Her breakout novel, the intoxicating Bel Canto, centered around opera, Japanese business practices and a hostage situation in a South American embassy. Her new novel, State of Wonder, will have elements that sound similarly abstruse – doctors, medical students, drug development and the Amazon jungle. But at the heart of the novel is an inspiring student-teacher relationship, which, Patchett told an interviewer, is similar to the bond she had with her own writing teachers, Allan Gurganus and the late Grace Paley. "This one was a picnic," Patchett says of State of Wonder, "because I didn't have to make everything up wholesale." (Bill) The Astral by Kate Christensen The question to ask about Christensen's next novel is will it deliver up another character on par with Hugo Whittier of The Epicure's Lament? ("May we all simmer in the dark with such humor and gusto," Sam Lipsyte wrote of Christensen's immortal misanthrope.) The Penn-Faulkner Award-winning Christensen's forthcoming sixth novel promises the story of a successful Brooklyn poet, Harry Quirk, whose marriage is in crisis and whose children have been swept up in cultishness of various kinds (perhaps a sort of Freedom, redux?). As a writer who reliably turns out novels that elicit warm praise from most of her reviewers, expect (at least) a genial, smart, gently satirical tale of the joys and woes of bougie New York life. (Emily W.) The Curfew by Jesse Ball: What to expect from an author who teaches classes on dreaming, false identities, and lying? If the author is Jesse Ball, then one should expect expectations to be defied, plot summaries to fall short, and critics to use structures to describe the framework of his imaginative plottings (nesting-boxes, Klein bottle, labyrinth). Perhaps the magical realms Ball creates have something to do with his process: “to conjure up a state of affairs--a glimpse of one situated thought, where the situation is all that surrounds it in the mind.” Or with his imaginative approaches to writing, evident in his classes. Ball’s novel The Curfew depicts a father and daughter during wartime, the father risks it all to find his wife and the young daughter imagines her father’s treacherous journey. Expect for this description to only loosely conjure the realms of wonder within. (Anne) Kurt Vonnegut: Novels & Stories 1963-1973: For those seeking Vonnegut’s aforementioned best, the Library of America will bestow upon him its black-cover treatment, collecting his great early novels (Cat’s Cradle, God Bless You, Mr. Rosewater, Slaughterhouse-Five, Breakfast of Champions) and stories into one thick volume. In this setting, it will be especially jarring to read Breakfast of Champions, whose “World Classics Library” “published hard-core pornography in Los Angeles, California.” (Jacob) The Storm at the Door by Stefan Merrill Block: The precocious Block published his first novel at 26. The Story of Forgetting, ambitious but flawed, nonetheless suggested Block might be a name to watch. Sure enough, here he is with a second novel arriving before his 30th birthday. This time around, Block will again take mental illness as a primary theme. (Max) Lola, California by Edie Meidav: Meidav is a rare thing, a less than well known writer who continues to publish big, dense, challenging novels with a major press. Meidav's third such effort weighs in at 448 pages and asks "Can an old friend carry in amber the person you were going to become?" Should Meidav be better known? Almost definitely. (Max) July: Once Upon a River by Bonnie Jo Campbell: A 2009 National Book Award nod (for her collectionAmerican Salvage) landed Campbell on the radar of many a reader. Her backcountry fiction focuses on rural characters, meth-cookers, and bad jobs or none at all, all shot through with redemption and compassion. This new novel, which Campbell says has been in the works for more than four years, sounds like something of a modern-day Huck Finn, following a sixteen-year-old girl who takes to the Stark River in search of her vanished mother. (Max) Estonia: A Ramble Through the Periphery by Alexander Theroux: In his one-of-a-kind Year in Reading piece, Theroux mentioned being this year "in the outback of frozen Estonia where I was not only writing a book but, as a kind of project, undertaking a private study of St. Paul and his life." The book in question was this title, forthcoming from Fantagraphics. The book emerges from Theroux's time spent in the former Soviet republic while his wife was on a Fulbright Scholarship. Ever observant, Theroux uses Estonia and its people as a lens through which to look back at America. (Max) The Devil All the Time by Donald Ray Pollock: Former meatpacker and paper mill employee Pollock’s debut story collection Knockemstiff was a favorite amongst indie booksellers, landed on both Amazon and Publishers Weekly’s lists of best books of the year, and garnered the following enigmatic praise from the LA Times “a powerful, remarkable, exceptional book that is very hard to read.” According to his blog, Pollock's debut novel is set in the 50s and 60s and “centers on the convergent lives of a tough but morally-upright young man from Ohio, a pair of serial killers who prey on hitchhikers, and an itinerant, spider-handling preacher and his crippled guitar virtuoso accompanist.” Naturally. (Patrick) August: House of Holes: A Book of Raunch by Nicholson Baker: There’s very little info out there on Baker’s forthcoming novel, aside from some Twitter-excitement, including, “I don’t think it’s about poems” (McNally Jackson Bookstore) and “Back to Fermata territory?” (Ed Champion). So fans of Baker’s earlier (erotic) novels may be in for a treat. At Amazon, the description reads: “a gleefully provocative, off-the-charts sex novel that is unlike anything you’ve read.” (Sonya) Night Film by Marisha Pessl: My first impression of Marisha Pessl's Special Topics in Calamity Physics was clouded by the many, many stunned reviewers who could not help but mention Pessl's beauty, often in the first paragraph of their reviews. (Indeed, it has been said that her picture was removed from advance copies of the novel to avoid just this.) Fortunately for those who do not choose books based on the bangability of their authors, while Ms. Pessl is hot, her prose is, by most assessments, hotter. Whether or not you liked Special Topics, you have to admit that the babe-authoress created one of the most startlingly distinctive fictional voices of recent years in Blue van Meer, the heroine-narrator of Pessl's academic novel qua murder mystery (Oh, the breathtaking allusiveness! Ah, the witty figurative language—almost exhausting in its inventiveness!). My fear for Night Film—according to Pessl's agent, “a psychological thriller about obsession, family loyalty and ambition set in raw contemporary Manhattan"—is that without Blue, Pessl's nothing. Can she--could anyone (think Jonathan Safran Foer after Everything Is Illuminated)--generate another voice as distinct and scintillating as Blue's? (Emily W.) Lights Out in Wonderland by DBC Pierre: After the curious panic surrounding 2003’s Vernon God Little (“It’s sort of about Columbine!” “He’s not even from here!” “It won all kindsa prizes!”), Australia’s DBC Pierre faded from American minds. Three years later, his Ludmilia’s Broken English failed to gain traction, and it seems a sensible bet that Lights Out In Wonderland—another scattershot soap-box rant—will continue the downward trend. But as Lights Out is a foggy howl against the global market (“My hair crests over my head like the dying wave of capitalism,” reads one unfortunate simile), Pierre shouldn’t get too upset if units fail to move. (Jacob) Anatomy of a Disappearance by Hisham Matar: Hisham Matar, author of In the Country of Men, is the child of Libyan parents. In 1990, the novelist's father Jaballa Matar was kidnapped in Cairo and extradited to Tripoli as a political dissident. Since then, his family has endured a special hell of loss and uncertainty--scant news punctuating long periods of silence--which Hisham Matar described in a haunting piece for the Gaurdian last January. His novel, due in August, is about a missing father, and will presumably draw upon Matar's experience as the child of someone disappeared. (Lydia) Beijing Welcomes You by Tom Scocca: Slate blogger and former New York Observer Editor Scocca chronicles his years spent in Beijing, observing a city and a culture moving into the global spotlight. The book examines the Chinese capital on the cusp of its global moment, tracking its history and exploring its singular character. Since Scocca lived in Beijing in the middle of the last decade, one can assume the buildup to the 2008 Beijing Olympics figures prominently in the text. Assuming Scocca brings his typical insightful and sometimes scathing perspective (witness his epic takedown of The New Yorker for publishing Dave Eggers's The Wild Things excerpt which ran two years ago at The Awl), Beijing Welcomes You promises to offer astute cultural observation on a culture Americans would do well to observe. (Patrick) September: 1Q84 by Haruki Murakami: Murakami's three volume stemwinder came out in Japan in 2009 and sold out its first printing in a day. The first two volumes will appear in the US this fall and fervor among English-speaking Murakamians is already building. The alpha-numeric title is a play on Orwell's 1984 - in Japanese the letter Q is a homophonic with the number 9 - and the book's plot (which was a tightly guarded secret prior to its Japanese release) concerns two characters, a PE teacher and a writer, who become involved in a religious cult through which they create "a mysterious past, different than the one we know." (Kevin) The Art of Fielding by Chad Harbach: In the Winter issue of n+1, Harbach published a provocative piece suggesting two paths for the novelist: MFA vs. NYC. Who needs the former, when you can ride the latter to a half-million dollar advance? Insiders have, predictably, likened Harbach’s treatment of a baseball team at a Wisconsin liberal arts college - presumably as a lens through which to view the American scene and the human condition - to the aforementioned Enfield Tennis Academy. (Garth) October: The Forgotten Waltz by Anne Enright: Enright, winner of The Booker Prize for the international bestseller The Gathering, explores a woman’s affair and her relationship with her lover’s young daughter. (Max) November: Parallel Stories by Péter Nadas: Péter Nádas' A Book of Memories might just be the best novel published in the '80s, and Imre Goldstein's translation into English of its massive successor would, in a just world, be the publishing event of the fall. Nádas is, simply put, a master. The freedom with which he combines the diverse idioms of realism, modernism, and postmodernism can only come from decades of discipline. More importantly - as a recent excerpt in The Paris Review illustrates - he generates a continuous, Proustian intensity of feeling and perception - psychological, philosophical, and physical. This three-volume work, structured as a set of braided short stories, tracks two families, one Hungarian and one German, across many decades. Readers looking for a fuller preview might consult Hungarian Literature Online, or Deborah Eisenberg's appreciation in The New York Review of Books. (Garth) Unknown (fall and beyond): The Queen of the Night by Alexander Chee: Described by Chee – a Whiting Award and NEA Fellowship recipient, currently a Visiting Professor at the Iowa Writers’ Workshop -- as a kind of “historical fairy tale,” Queen is set in the time of the Second Empire (1852-70), in Paris. Chee’s first novel, Edinburgh, focused on a young boy’s surviving pedophilia. “The Queen of the Night sort of picks up in some ways from where Edinburgh leaves off,” Chee said in an interview, “in the sense that it is about a young woman who believes her voice is cursed, and if she uses it, terrible things will happen. And then she does, and they do. And she tries to put it right as best she can.” (Sonya) The Map and the Territory by Michel Houellebecq: Michel Houellebecq, the reigning bad boy of French letters, has been accused of every imaginable sin against political correctness. His new novel, The Map and the Territory, is a send-up of the art world that tones down the sex and booze and violence, but it does feature a "sickly old tortoise" named Michel Houellebecq who gets gruesomely murdered. The book has drawn charges of plagiarism because passages were lifted virtually verbatim from Wikipedia. "If people really think that (this is plagiarism)," Houellebecq sniffed, "then they haven't the first notion what literature is." Apparently, he does. The Map and the Territory has just been awarded the Prix Goncourt, France's most prestigious literary prize. (Bill) The New Republic by Lionel Shriver: Shriver apparently finished a draft of The New Republic in 1998. After six well-regarded but commercially ignored novels, she couldn't find a buyer for this story of "cults of personality and terrorism" and was about to give up fiction-writing altogether. Flash forward a dozen years: Shriver is an Orange Prize winner, a National Book Award finalist, and has sold over a million copies worldwide. She has been fêted by...er...The New Republic, and hailed in these pages as "America's Best Writer." Also: terrorism and cults of personality are very much on people's minds. Maybe this will be the book that lands her on the cover of Time. (Garth) Hot Pink by Adam Levin: Viewed from afar, Levin's first novel, The Instructions, looked, for good and ill - mostly for good - like a kind of apotheosis of the McSweeney's house style: playful, inventive, funny-melancholic, youth-focused. However, it also possessed a couple of attributes that set it apart from other titles on the McSweeney's list. One was its dialectical genius; another was the ferocity of its anger at the way the world is (which elsewhere in McSweeneydom often gets sublimated into melancholy). Though Levin wears his influences on his sleeve, his sensibility is utterly distinctive, and almost fully formed. Look for the stories in the follow-up, Hot Pink, to be formally audacious, occasionally adolescent, but always bracing in their passion. (Garth) The Unfolding Haggadah by Jonathan Safran Foer with Nathan Englander: The only evidence of what this might be comes from Tablet where an essay by Judith Shulevitz includes a note about this title in the author's bio. An anthology it is then. And with Foer and Englander at the helm, this is one to keep on the radar. (Max) Four Selected Titles with UK publication dates but no US date yet: Dante in Love by A. N. Wilson: Later this year, English biographer and critic A.N. Wilson comes out with Dante in Love, a study of the Florentine poet that, confusingly, shares a title with a 2005 book about Dante written by Harriet Rubin. Wilson's book will, one imagines, address Dante's exile, Beatrice, Guelphs, Ghibellines, and so on; his perspective as a very public defector from and subsequent re-convert to Christianity might bring new insight to this well-trod territory (then again, it might not). (Lydia) River of Smoke by Amitav Ghosh King of the Badgers by Philip Hensher The Stranger’s Child by Alan Hollinghurst So, which of these books are you most looking forward to and which great new books did we neglect to include?
Watch out! Vonnegut is definitely habit-forming! -From a Dell Books Advertisement for Welcome to The Monkey House, 1974 On a recent morning, I boarded a New York subway car, glancing at the riders as I settled into a seat. A homeless man slept in a corner; three skate rats hovered above him, snickering greasily. A few others read tabloids with Manhattan disinterest; an Orthodox wife corralled her squirming kids. Despite the varied scene, I was most interested in the man sitting across from me. He was roughly my age, and was intently reading a book. I looked away—then, with blasé nosiness, went back for the title: Bluebeard, by Kurt Vonnegut. The man was absorbed, no doubt reading it for the first time. I turned away again, mild jealousy creeping in. I wish I could do that, I thought. I wished this not because Bluebeard is a great book—though it’s close, one of Vonnegut’s best late novels—but because it was a Vonnegut. It’s been years since I’ve read him, and in the weeks since that train ride, I’ve come to see how much his work once meant to me, and how much I miss it now. I discovered Vonnegut, unoriginally enough, in college. In a small used bookstore, long since vanished, a row of hardcovers caught my eye. I knelt and came up with Breakfast of Champions. The title was written in tiny aqua type; underneath, much larger, was the author’s name, in an appealing Cooper font. The name “Kurt Vonnegut” was both familiar and intrinsically appealing: spiky, ugly, and elegant. As I flipped through, I found crude pen drawings—tombstones, cows, an asshole. In between were passages like this: Sparky could not wag his tail—because of an automobile accident many years ago, so he had no way of telling other dogs how friendly he was. He had to fight all the time. His ears were in tatters. He was lumpy with scars. And this: The humanoids told Don that if he went home with a whore, she would cook him a meal of petroleum and coal products at fancy prices. And this: A dinosaur was a reptile as big as a choo-choo train. It seemed sad and strange and new. I was in. I gave five dollars to the smiling elderly clerk, walked it home, and, splayed in my beer-stained beanbag chair, flew clean through it. As it turned out, I’d been right: Breakfast of Champions was crushingly sad, thoroughly strange, and unlike anything I’d read. It was anguished by our mindlessness, but laced with knowing glee. Despite its outraged pessimism, it was quite a lot of fun. I needed more. I returned to the bookstore and made its Vonneguts mine. A different second-hand shop kept their KVs behind the counter, as liquor stores do with their best stuff. The books back there were more expensive, but I didn’t care. Could I have those? I asked. Yes, please. All of them. Though I read other authors in the months that followed, Vonnegut was the magnetic core of my reading world. I jumped from the brilliant (Cat’s Cradle) to the good (Player Piano) to the blah (Jailbird) to the brilliant (God Bless You, Mr. Rosewater). I was troubled by Mother Night, addled by Slaughterhouse-Five. On a visit home, I found Hocus Pocus on my father’s shelf, and promptly stole it away. Even at their leanest, Vonnegut’s stories worked by wheeling massive concerns—annihilation, fate, the return of Jesus Christ—through bloated cartoon worlds. He hit the pleasure centers with sickening ease; the junk was strong. I read his short stories and essays, interviews and speeches; I painted an elaborate gouache portrait of him. I befriended a collector of “Vonnegut ephemera” who claimed to have been a character in Slapstick. I pushed the books on others, then fretted for their return. I read The Eden Express, his son’s psychosis memoir. And then, within a year or so of finding Breakfast of Champions, I was done. It had been like bingeing on mangoes. In this way, Vonnegut’s virtuosity was its own detriment: having fallen so hard for his humor-glazed rage, I had no choice but to rip through everything. There are plenty of other authors who I’ve liked just as much—T.C. Boyle, say, or Michael Chabon—but with them, I’ve never felt the completist urge. Riven Rock, The Yiddish Policemen’s Union, and the rest have been set aside for the future. But Vonnegut disallowed such patience. Once I began, the existence of more fed a steady, low-grade mania. It’s a testament to his skill that in the years since, I’ve never become embarrassed by that mania. There’s a tendency to disown one’s teenage enthusiasms, to feel that our supposed refinement has made us somehow wiser. To be sure, I’d rather sand off my nose than read Skinny Legs and All to the strains of Jethro Tull. But Vonnegut, though best-loved in the days of beanbag chairs and Escher prints, is different. Unlike Pirsig or Meddle or Jäger, he transcends the collegiate—too sternly pissed to be relegated to a rash and eager past. So I’ve resolved to reread the man. I’ve taken my favorite Vonnegut novel, God Bless You, Mr. Rosewater, down from the shelf. To my surprise, having it so near has made me anxious, as if an ex-girlfriend has returned. Its tattered front cover is taped to the spine; its pages are flaky and tan. The back cover says that “Only recently has the general public become aware of his unique genius.” It’s old and frail, but its words remain pungent, tragic, insane: “And then they tied me to a stake, burned me alive, and dumped my ashes into the nearest stream. As I say, I haven’t been back since.”
Following is a continuation of my interview-conversation with David Shields, author of 10 books of fiction and nonfiction, most recently Reality Hunger: A Manifesto, the subject of this interview. Click here for Part One, wherein we discuss the nature of a “manifesto,” love of lists, Leonardo DiCaprio, Joyce, Chekhov, and the novel as a dead shark. The Millions: Another element of conventional fiction which you take up is the notion of a resolved plot arc, the falsity and myth of the “complete narrative action,” in favor of the entropic, the incomplete, the underprocessed. I wondered, though, in assembling the text-collage that is RH:AM, if you had some sense of narrative movement or “story” as you arranged, ordered, and created a structure for its fragments. David Shields: Oh my goodness yes. The book pretends to be entropic, but it has an unmistakable movement to it. Collage is not a refuge for the compositionally disabled; it’s an evolution beyond narrative (as I say, more or less, in the book). The book gets increasingly personal, keeps developing its argument(s), keep opening out and inscaping in; I hope that is manifest. If the book is a collection of 619 riffs, it’s not working for the reader. It’s an absolutely sustained argument about appropriation, genre, and doubt. TM: What about process? Did you arrange and rearrange a million times? Lay out little post-it notes on a giant canvass on the floor, Jackson Pollock style? Had you been “collecting” quotes in a notebook for 20 years? Etc. (I recall that in workshop you would sometimes pull out from your pockets your notes, scribbled on the backs of grocery and ATM receipts. Ah, the romantic image of the scatter-brained artist.) DS: A dozen years ago or so, you took a graduate course with me, Sonya, in self-reflexive gesture in documentary film and essay, did you not? [Yes – good memory, exactly 12 years ago.] Can’t remember if I was teaching the course then. Over many, many years I’ve been teaching the course, and the reading material for the course has tended to be a very unwieldy packet that I developed, hundreds if not thousands of passages from various people. And each year, the packet would get slightly more refined, focused, and the big break for me was seeing how I could push these passages into rubrics, otherwise known as chapters. Then I needed to organize each chapter for maximum effect, and all of the chapters for maximum effect. I thought it was still a first draft for the book. But I read it and kept rereading it and rereading it, and I realized that for me, at least, the form worked, as is, to my astonishment, in a variety of ways. A rabbit pulled out of a hat—my favorite kind of book. TM: Junot Diaz recently wrote on a New Yorker blog that President Obama’s central failing of the last few months has been absence of narrative. He wrote: "Ideas are wonderful things, but unless they’re couched in a good story they can do nothing[…] The story always wins.” Did you happen to catch that, and what do you think of that? DS: I didn’t see Junot Diaz’s blog, and I haven’t read his work. But he’s a fiction writer; of course he’s going to say that: story is all. I’d say pretty much the opposite. I’m interested in ideas. I love the first chapter of The Great Gatsby, because Nick Carraway is thinking really well about things for 20 pages. The rest of the book is a snooze, because it’s just a bunch of sops to the lazy reader, otherwise known as not particularly revelatory plot developments. I wake up a little for the last 2 pages. So, too, I adore the introduction to Slaughterhouse-Five. The best 30 pages Vonnegut ever wrote. That’s the entire book, compressed to thought, to consciousness. What separates us is not what happens to us. Pretty much the same things happen to us: birth, love, death. What I want is to gain access to how you think. That will assuage my loneliness. I want work that foregrounds that to an extraordinary degree. A few such books are published as novels: Coetzee’s Elizabeth Costello, Camus’ The Fall, Proust. TM: What, if any, would you say is the distinction between the kind of raw, collagey, reality-fiction art forms that most interest you, and plain old reality TV of The Real World, Jon and Kate Plus Eight, Keeping Up With the Kardashians variety? DS: I’m not really very interested in reality TV, I must say. There’s kind of a difference between, say, Ross McElwee’s self-reflexive documentary films—which have had a stronger influence on my aesthetic than just about anything I can think of—and Jon and Kate. What is the distinction? An animating, artistic intelligence that is organizing material into a metaphor that ramifies. TM: Given RH:AM’s “evangelistic” impulse, does the possibility that the majority of readers who have a fidelity to fiction and the conventional novel form won’t be reading RH:AM trouble you at all? DS: Hmm. To me, the book is much more self-critical than that. Also, see answer to the question about novels. If you’re opposed to abortions, don’t have one. If the argument doesn’t fly for you, I’m sorry that I didn’t bring you along. But fiction and poetry have ancient cheering sections. Thrillingly great nonfiction—essay as art—needs a fuller articulation of how and why epistemologically sophisticated nonfiction (Bouillier, Wenderoth, McElwee, Simon Gray, Spalding Gray, Cyril Connolly, Nietzsche, Markson, Lesy, Adler, Brainard, Dyer, Fusselman, Galeano, Lindqvist, Manguso, Maggie Nelson, Sebald, Trow, Thernstrom, Castle, Bernard Cooper, Annie Dillard, Pessoa, Mendelsohn, Spiegelman, Hardwick, Cioran, Rousseau, Duras, Pascal, Rochefoucauld) is about as exciting as prose gets. For that task, I’m your man. One needs to shout to be heard sometimes. TM: Funny, though: it’s obvious to fiction writers that nonfiction rules the day, commercially speaking – money, readership, likelihood of getting published, etc. When I teach fiction classes, there’s always a demoralizing moment at the end of the term where I tell students to have low expectations for publishing fiction, because fewer and fewer people read it; if they want to get published and want to be read, they should write nonfiction. Why do you think each side sees itself as the David and the other as the Goliath? DS: It’s a funny idea. Writer as perpetual spy in the house of love. Victim-lit as a way to psych oneself up. Crucial for me in writing this book—and in a way I’ve been writing it for thirty years, and certainly for the last fifteen years—was my vexed sense of the way in which great nonfiction is badly boxed in by straightahead memoir, on the one hand, and straightahead fiction, on the other. If I felt nonfiction ruled the day, the book may not have had its (willed? invented?) raison d’etre. The winner may get to control the story, but the loser always has the best stories. TM: You quote at length Kevin Kelly, from an article in the New York Times: Copies don’t count anymore; copies of isolated books, bound between inert covers, soon won’t mean much. Copies of their texts, however, will gain meaning as they multiply by the millions and are flung around the world, indexed, and copied again. What counts are the ways in which these common copies of creative work can be linked, manipulated, tagged, highlighted, bookmarked, translated, enlivened by other media, and sewn together in the universal library. The only way for books to retain their waning authority in our culture is to write texts into this library… In the clash between the conventions of the book and the protocols of the screen, the screen will prevail. Then you go on to write: It’s important for the writer to be cognizant of the marginalization of literature by more technologically sophisticated and more visceral narrative forms…I don’t think it’s a very good idea to write in a vacuum. Culture, like science, moves forward. Art evolves. Did you at all consider publishing RH:AM in a more digitally-driven or technologically hybrid form, i.e. not primarily as a book? Do you think your work from here forward will be in print/book form, or something that incorporates more a fundamentally multi-media conception? The approaches of documentary and other cinematic forms, as well as music, for example, seem to figure integrally into your Manifesto. DS: Interesting. One offer I had from a UK publisher was to publish the book as a series of tweets. I was tempted, but I decided not to go that way. I feel like my bluff got called. Here was my chance, but I was still somewhat loyal to good old print. We shall see where I go next, Sonya—whether this book will find its way digitally and what I’ll do next. I’m extremely interested in opening up the floodgates, but part of me still loves the monumental old dam up on a hill. I’m working it out. TM: Lastly: in RH:AM’s epigraph, you quote Picasso’s “Art is theft.” In the first sentence of the book, you write about artists “smuggling” reality into their work, and then later you quote Bacchylides: “One author pilfers the best of another and calls it ‘tradition.’” At The Millions, editor Max Magee recently published an interview with an anonymous “book pirate,” and the interview prompted a lively and heated discussion among readers, and a record number of comments. How are we to negotiate/understand this new landscape of borrowing and stealing and sharing literary content in a way that is generative for literature, not merely parasitic? DS: “After decades of measures that have drastically reduced the public domain, typically by extending the terms of protection, it is time to strongly reaffirm how much our societies and economies rely on a vibrant and ever expanding public domain. The role of the public domain, in fact, already crucial in the past, is even more important today, as internet and digital technologies enable us to access, use, and re-distribute culture with an ease and a power unforeseeable even just a generation ago.” (Public Domain Manifesto) Two-thirds of Shakespeare’s Henry VI (parts I-III) is taken directly from other sources (especially Plutarch)—none of which are cited, of course. As I say in a preface to the appendix (I wanted to publish the book without any citations, but I wound up needing to do so, to comply with Random House’s legal obligations), “I can hardly treat the topic deeply without engaging in it. That would be like writing a book about lying and not being permitted to lie in it. Or writing a book about destroying capitalism, but being told it can’t be published because it might harm the publishing industry.” “Who owns the words? Who owns the music and the rest of our culture? We do. All of us. Though not all of us know it, yet.” (William Gibson) Art is a conversation between and among artists; it’s not a patent office. Reality can’t be copyrighted. The citation of sources belongs to the realms of journalism and scholarship, not art. Citation domesticates the work, flattens it, denudes it, robs it of its excitement, risk, danger. I want to make manifest what artists have done from the beginning of time—feed off one another’s work and, in so doing, remake it, refashion it, fashion something new. Cortázar: “To quote someone is to quote oneself.” Walter Benjamin: “Method of this project: literary montage. I needn’t say anything. Merely show. I shall purloin no valuables, appropriate no ingenious formulations. But the rags, the refuse—these I will not inventory but allow, in the only way possible, to come into their own: by making use of them.” “My taste for quotation, which I have always kept—why reproach me for it? People, in life, quote what pleases them. Therefore, in our work, we have the right to quote what pleases us.” (Alain Robbe-Grillet) “Language is a city, to the building of which every human being has brought a stone, yet each of us is no more to be credited with the grand result than the acaleph which adds a cell to the coral reef that is the basis of the continent.” (Emerson) “Genius borrows nobly.” (Emerson again) “Immature poets imitate; mature poets steal.” (T.S. Eliot) “About the most originality that any writer can hope to achieve honestly is to steal with good judgment.” (Josh Billings) “People are always talking about originality, but what do they mean? As soon as we are born, the world begins to work upon us, and this goes on to the end. What can we call our own except energy, strength, and will? If I could give an account of all that I owe to great predecessors and contemporaries, there would be but a small balance in my favour.” (Goethe) "A great man quotes bravely and will not draw on his invention when his memory serves him with a word as good. What he quotes, he fills with his own voice and humor, and the whole cyclopedia of his table talk is presently believed to be his own." (Yet again Emerson, who is unfailingly brilliant on this subject). The mimetic function has been replaced by manipulation of the original.
Elizabeth wrote in with this question: This upcoming semester I will be teaching a literature class at an East Coast college. The reading list includes several poems, stories, and essays as well as two plays, and just one novel. The English chair explained that because the school is heavy on business majors, for many students the novel they read in this course may the only novel they read for the rest of their college experience, and in some cases, for the rest of their lives. To be charged with selecting the "one novel of a person's life" seems like both an impossible burden and a precious gift. I don't know if I should choose something relatively accessible that might induce a love of reading (Lolita, The Remains of the Day, White Teeth) or a classic that might give them a greater perspective on the history and traditions of storytelling (Don Quixote, Madame Bovary, To the Lighthouse.) My question, then, is really this: if you could read just one novel, what would it be? Several of us pitched in on this one. Some of us took Elizabeth's question literally, wondering what "one novel" we would choose in the (terrifying) event that we would be allowed just one for the rest of our lives. While others put themselves in Elizabeth's shoes, trying to figure out how to wield the awesome responsibility of determining the entirety of another person's reading experience. Here are our answers: Garth: The hypothetical here - if you could read just one novel - strikes fear into my heart. Certainly, the book should be long, if there's only going to be one. I'm tempted to say A Remembrance of Things Past on those grounds alone. On the other hand, the Marcel-Albertine romance never stoked my fires as much as the other relationships in the book, and I've got the feeling that this one, singular book should be a love story. In the same way that, if you only had one great narrative of your own life, you'd want it to be a love story. So: how about Anna Karenina? Writing about happiness is the hardest thing to do, and, in a book which most people remember for the sad parts, Tolstoy does it better than anyone. Edan: My suggestion - Slaughterhouse-Five by Kurt Vonnegut - may be an obvious one, but it makes sense as a syllabus pick for a number of reasons. Firstly, it's highly readable. It's important that the assigned book be entertaining, since someone who doesn't read much won't tolerate a slow or dense novel (just as someone who isn't a movie buff (read: me) won't sit through a John Cassavetes film). Secondly, there's a lot in the book to discuss as a class. I read it two years ago, and found it to be structurally fascinating, as well as funny, playful, and damn moving. For instance, I was interested in how the phrase "So it goes" repeated throughout the novel, changing with each use: first the casualness jarred me, and then I was surprised to see it, and then I expected to see it, and then I was exhausted by it, and the cycle went round and round again, a little different each time. I'd love to talk about this process as a group, and I think others - book worms or not - would, too. And, lastly, Kurt Vonnegut is a great writer to like, as he has so many other books, and his influence in American literature is just enormous. If you love his books, there are others to discover. Get someone hooked on Vonnegut, and he or she will be a reader for life. Andrew: If I could only pick one novel, I'd pick one that will magically smash through curriculum limits and lead the reader head-first to others - a gateway novel, if you will. I have a hierarchy of favorites - modern and classic - but strategically I'll pick the one that, looking back, opened up the world to me. I first read Slaughterhouse-Five when I was about nineteen years old. I was discovering Kurt Vonnegut and was drawn to his darkly comic way of writing - playful, with big chunks of sci-fi thrown in to satisfy the geek in me. Slaughterhouse-Five has all of the Vonnegut tropes, but digs deep. Billy Pilgrim, our mid-century, middle-aged, middle-class hero, has become "unstuck in time" and we follow him forward to the planet Tralfamadore, and backwards to 1945 where Billy and his fellow soldiers - kids, really - are POWs in Dresden. Though Vonnegut's playful, ironic fatalism gives the story its rhythm, and the time-shifting gives it its structure, the horrific firebombing of Dresden gives the novel its depth. This is a war story like no other. Emily: In the words of Gabriel Betteredge, taken from Wilkie Collins' The Moonstone: "You are not to take it, if you please, as the saying of an ignorant man, when I express my opinion that such a book as Robinson Crusoe never was written, and never will be written again. I have tried that book for years--generally in combination with a pipe of tobacco--and I have found it my friend in need on all the necessities of this mortal life. When my spirits are bad--Robinson Crusoe. When I want advice--Robinson Crusoe. In times past when my wife plagued me; in present times when I have had a drop too many--Robinson Crusoe. I have worn out six stout Robinson Crusoes with hard work in my service. On my lady's last birthday she gave me a seventh. I took a drop too much on the strength of it; and Robinson Crusoe put me right again. Price four shillings and sixpence, bound in blue, with a picture into the bargain." And if you object to Crusoe, then The Moonstone, the finest (and first, some would say) detective novel ever written. Noah: Are we in a primordial state, untouched by letters save for one sacred tome (The Complete Works of Shakespeare, perhaps)? Or simply naming our favorite book (A Fan’s Notes). This exercise is like picking a "desert island book," the book you’d want to have to read by the yellow flickering of a driftwood fire while the palm fronds sway in the moonlight and the ocean crashes below. In this situation I might opt for something long and beloved, an Infinite Jest or Underworld, say. Maybe a classic that I haven’t read would be better (even on a deserted island it’s important to be well-read). The Count of Monte Cristo could work well. I’ve heard good things. But no, we are talking about choosing a book to teach. A book to teach to business majors who may not read another word the rest of their lives. I think The Great Gatsby fits the bill. Lydia: This question has made my week a little less enjoyable, because every time I sat down to lounge, I remembered that I had to pick the only book that a group of people will read, maybe ever. Their lives were in my hands. I thought about it a lot, and I have decided that I would assign David Mitchell's Cloud Atlas. It is intensely readable, so they will actually read it. Some things I had to read in college English classes, like the wretched Pamela, were so unfun to read that I did not, in fact, read them. Never underestimate a college student's unwillingness to do his or her homework, especially if it is boring. Also, Cloud Atlas centers around a neat narrative trick, so you can talk about novels and the different ways people make them. Since it adopts a series of voices, you can tell the students that if they liked the Frobisher part, they can try Isherwood, and Martin Amis if they liked the Cavendish part, and so on. Ideally this will trick them into reading more novels. Finally, Cloud Atlas even has A Message, slightly simplistic though it may be, and will provide gentle moral instruction to your flock (I think it's "Make love not war, save the planet"). Max: It was fascinating to me that both Edan and Andrew picked Slaughterhouse-Five (and for the same reasons!) It's true that this novel (or, in a somewhat similar vein Catch-22) will serve to entertainingly blow up any preconceived notion that an intelligent non-reader may have had about the boring old novel. I also found interesting Noah's and Garth's idea (reading the question as looking for a "desert island book") that length is critical. With that as my consideration, I would choose Alvaro Mutis' The Adventures and Misadventures of Maqroll, an adventure novel that could be plumbed again and again, or East of Eden, the best of the multi-generational epics of the last 100 years. Or better yet, if you read just one novel, why not read the "first" and, in the sense that all novels since are just repeating its tricks again and again, the only novel, Don Quixote. But thinking again about this as a novel to be read in this unique and specific circumstance, and thinking again that something contemporary might best fit the bill, why not - bear with me here - The Corrections by Jonathan Franzen? Even though the characters might seem like typical boring novel characters, Franzen does things with them that you wouldn't expect, the book is incredibly readable, and you can get into the whole meta-argument surrounding the book and Oprah and whether good literature must be in opposition to popular culture or should be a part of it. Thanks for your great question, Elizabeth. Millions readers, help us inaugurate the first Book Question on the new site by sharing your answers to Elizabeth's question on your own site or in the comments below.
If you are a popular and prolific enough author, an interesting thing happens to your books, they all begin to look the same. This is the primary outward manifestation of an author as a brand. As a large oeuvre gets rounded out to perhaps a dozen or two titles, the publisher picks a certain design and rereleases all the titles to have that design. This makes a lot of sense. If you are a fan of Prolific Author A and are working your way through his body of work, you'll soon be on the lookout for the distinctive style his publisher has chosen for his paperbacks. The problem is that all too often, these uniform designs are ugly. My prescription, however, is to scale back on the shared elements and to try to present each book more uniquely so that it feels like as much effort has gone into packaging each individual book as went into to writing it.From my days in the bookstore, I know how important, often subconsciously so, book cover design can be. With that in the mind, there are some very well-known authors whose uniformly designed books are doing them a disservice and deserve an overhaul:The Vintage paperback editions of William Faulkner's novels have it all: terrible fonts, jarring colors, and strange, bland art. The covers betray none of the complexity of Faulkner's work and instead promise soft-focus confusion. They feel dated and badly in need of a refresh. Better versions: Check out the prior paperback covers of As I Lay Dying from Penguin and Vintage.Maybe it's the frames around the Ballantine John Irving paperback covers, but they remind me of hotel art. Irving's masterful narratives have been reduced to representative but inanimate objects - a nurse's uniform, a motorcycle - that occupy the safe middle ground that Irving's books eschew. Better versions: There is a certain dignity to the text-only designs that once graced Irving's covers. For a writer as inventive and unique as Kurt Vonnegut, it sure seems like a shame to just slap a big "V" on all his covers and call it a day. Better versions: They may not offer a uniform look, bit I prefer the energy of the old pocket paperback versions of Vonnegut's novels. Far better are the Vintage Murakami paperbacks, which evoke some of the most jarring and surreal qualities of Murakami's fiction. They also maintain a consistent aesthetic and yet they still vary from title to title. Even better versions: The Chip Kidd-designed British hardcover of Wind-Up Bird Chronicle captures the vivid imagery while hinting at the underlying complexity.
Joe Meno's most recent novel, The Great Perhaps, is a beautiful and entertaining tragicomedy about the Casper family: scientists Jonathan and Madeline, their complicated teenage daughters, Amelia and Thisbe, and Jonathan's father, Henry, who is willing himself to disappear, speaking fewer and fewer words each day. Meno is the author of four other novels, including Hairstyles of the Damned, and his most recent story collection, Demons in the Spring, was a finalist for the fifth annual Story Prize.The Millions: I had this sensation when reading The Great Perhaps that its form was continually unfolding and revealing itself to me. For instance, we've got an elevated third person narrator that also manages to swoop deeply into various characters' perspectives; we've got short narratives about various Casper ancestors; we've got Jonathan's father Henry writing letters to himself about his past - and so on. This sensation of formal evolution was exhilarating, perhaps because it never felt inaccessible. Did you plan to write a book that shifts in these formal ways? And why these particular narrative choices?Joe Meno: When I first started writing the book I had no idea what it was about or how to tell it, other than I wanted to try and tell the story of a family in the weeks leading up to the 2004 election. After I finished the first draft, I realized the book was about complexity, and the need for it, and how terrified we, as Americans, seemed to have become of anything complicated or uncertain. As I started rewriting and organizing the book I realized that in order to get to the complexity of the character's lives, I would need a structure that was also complex, so I started using different forms for each character as a way to develop who they were - Jonathan, a paleontologist, has various abstracts from his published scientific journals, his wife, Madeline, an animal behaviorist, has her chapters structured like field notes, their daughter Amelia, a budding Marxist, has excerpts from her angry anti-capitalist rants in the school newspaper, their other daughter, Thisbe, has these very violent prayers she has made up, and their grandfather, Henry, has these letters he writes to himself as a way to rid himself of his connections to the past.TM: There's a notion in your novel that cowardice and failure can be inherited. Do you think the book supports or disproves this theory - or does it do both?JM: Actually, I did a lot of research looking at the theories concerning the heredity of personality traits, and there's a lot of evidence that our behaviors are not only influenced by role models like our parents, but also by the genes they pass on through these structures called epigenes, which is fascinating and also really, really horrifying. I think, in the end, that all humans, who on some basic level are all genetically related, have the very real potential for stunning acts of cowardice, and at the same time, the possibility for kindness and bravery. When you think about the last eight years of our country's history, you can see obvious examples of both, oftentimes committed by the very same people. The characters in the book all prove they are affected by a real sense of fear, and by the end of the novel, they all have a chance to face their cowardice, which in their own way, all of them do.TM: There's also a theme of familial roles in the book, and for the Casper family, a pattern of going outside of their prescribed boundaries. For instance, Madeline decides to tell her eldest daughter, Amelia, about a sexual moment with a work colleague, and, at one point, Amelia goes to watch Jonathan teach because she longs to see him as a professor rather than as a father. I wonder, starting out, what your notions of this particular family's traumas and dysfunction were. Did these characters change as you wrote them?JM: I think one of the reasons the family in the book is so unhappy is that each of them, in their own way, has decided that there is one thing in life that will help them understand everything - for Jonathan, it's this squid, which he thinks if it can be found, will help prove the theory of evolution. There's Madeline and her ideas about social dominance, and Amelia and Marxist politics, and Thisbe and her troubling sense of religion, and Henry, who is trying as hard as he can to escape the complications of history. It took me a long time and a lot of writing to figure out how they worked on their own, and then together. What becomes apparent is how lonely they are in each other's company, because they're all failing to see how none of those perspectives are mutually exclusive, and how we need all of those ways of understanding to make sense of the complexities of the world.TM: The book's terrific first line, "Anything resembling a cloud will cause Jonathan Casper to faint," echoes throughout the novel, and I found myself noting each varied cloud reference. For example, Madeline follows a man-shaped cloud, and the younger sister, Thisbe, in an exalted, erotically charged moment with a friend, notes the "cloudless field hanging above them." Are all these diverse cloud references examples of "a great unknowable entity" as mentioned near the end of the novel? Am I meant to desire a simplicity of metaphor, or symbolism, and not get it? How conscious of the cloud imagery were you as you wrote this book?JM: I think because the book is so expansive and follows five main characters and several centuries in the family's overall history, I needed something to connect the different family members, and the image of the cloud became the thing that made the most sense. The first line, like the book itself, was definitely influenced by Kurt Vonnegut's Slaughterhouse Five. In the intro to his book, he discusses how writing an anti-war novel is like writing an anti-glacier novel. For some reason, that idea haunted me: what was it about a glacier? The more I thought about it and the more I wrote the book, the more I realized that what I think he might have meant is that war, like all human conflicts, is unavoidable, it's part of the way the natural world works, and so it's inescapable. I used a similar image - a cloud - which is also part of the natural world, and is also pretty impossible to avoid. The other thing about the cloud is that it's amorphous, ever-changing, unclear, which speaks directly to the way all of the characters see the world in which they're living. To me, that's what's necessary or beautiful about the image: they're the physical manifestation of the idea of uncertainty or complexity.TM: One of the two epigraphs is by Kurt Vonnegut: 'One of the great American tragedies is to have participated in a great war.' The novel takes place in 2004, during the presidential elections, and Madeline in particular is troubled by the war in Iraq. How and why did you work these real current events into the scope of the story?JM: I actually began writing the book thinking directly about the war and then the book grew from there. For me, as I look back over the eight years of the Bush Administration, what most strikes me is how cleverly they used fear over and over again to push forward their agenda, and how, over and over again, we as Americans allowed ourselves to be manipulated by this fear, especially during the lead-up to the invasion of Iraq, and then again during the weeks before the election. Like Madeline, I was completely uncertain about the war in Iraq: I was unsure of whether it was right or wrong, like most of the country at the time, and part of me, I think, was hoping not to have to think about it at all. My recollection is that there was very little debate and with some distance, I feel particularly ashamed of how fearful as a nation we had allowed ourselves to become. Writing the book was a way for me to try and make sense of the choices we made or didn't make.TM: One of my favorite aspects of your book is the humor and tragedy with which you depict the teenage lives of Thisbe and Amelia. At one point, Thisbe prays, "Dear Lord... let the wire in my bra poke through my heart," which is just, well, awesome. Are you, in fact, a teenage girl in disguise? How did you get inside these complicated - and very different - young minds?JM: I am not, in fact, a teenage girl. But I am writer which is pretty darn close. Amelia was based somewhat on someone I knew and worked with, at least as a starting point. As I was working on her character, I realized how angry and unappealing she seemed and so I felt like I no choice but to add some humor to temper her rancor. Thisbe, in secret, is kind of my favorite character in the book. Although she is really confused and definitely a kind of zealot, what she really wants is to make sense of her family and herself and her feelings towards Roxie, a classmate. I think she's a pretty fair example of why evangelical Christianity is so appealing to some, because in the end, it's based on a search for understanding through love. This is also why it is so insidious and threatening as well. Like Thisbe, trying to oversimplify the world only undercuts what seems so miraculous about life in the first place.TM: And, because this is a book site, I must ask you: What's the last great book you read?JM: Mickey Hess' non-fiction masterpiece, Big Wheel at the Cracker Factory. It's about an assistant professor who's forced to take all these weird day jobs - ice cream man, house-sitter, actor at a haunted house - while he tries to negotiate the transition from one part of his life to the other.
So that you may get to know us better, it's The Millions Quiz, yet another occasionally appearing series. Here, as conceived of by our contributor Emily, we answer questions about our reading habits and interests, the small details of life the like-minded folks may find illuminating, and we ask you to join us by providing your own answers in the comments or on your own blogs.Today's Question: New, Used, or Antequarian?Edan: My preference is for new books - to me, reading someone's yellowed copy of Pride and Prejudice feels too much like wearing that same someone's stinky sneakers. Well, maybe it's not that bad, but I can never drum up the same kind of lust for the used as I can for the new. This might have its origins in childhood trips to Children's Book World in West L.A. where I went to attack L.M. Montgomery's entire oeuvre, or to get the latest installment of the Babysitter's Club series. My appreciation for the new became part of my job at Book Soup; there I spent a lot of time stacking smooth hardcovers and shiny paperbacks, and oohing and aahing over what the receiver unpacked next. Even now I can't help but fix displays at my local bookstore - it's just too pleasurable to handle all those new novels.For me, buying a new book is an event, and after a day or two of reading, I write my name, and the month and year, on the book's inside cover. I rarely get rid of the new books I buy; the connection is too deep. I love starting with a stiff and shy paperback, and ending with something dog eared, scribbled on, and creased - in that process, the book becomes read, and becomes mine.Andrew: I know I've been in a good used-book shop if, upon leaving, I begin to muse what it would be like to quit my job, buy the shop in question, and become Andrew Saikali, bookseller, Esq. Then reality usually sets in, and I forget this fanciful notion.Second-hand book shops are like an extended version of my den - they are what it would resemble if I had the resources. So, for me, because of the experience of buying used, coupled with the cost-savings, second-hand books trump even the shiniest new books. That said, on occasion I'll comb the city looking for a just-released title, price be damned. (Bob Dylan's Chronicles was a case in point.)While I admire antiquarian books - taunting me as they do from their snobby little perch behind the glass, behind lock and key - I've always resisted the temptation to splurge. However, if anyone wishes to initiate me into the rarified world behind that glass, my birthday is in April. You've missed this year's, but you can begin to think about next year's. I also like imported wine and fine chocolate.Kevin: I don't know if the problem is with me or with used book stores, but either way, the relationship always ends in disappointment. I want to like used book stores, to see them as little pockets of virtue in the miles and miles of new, shiny waste sold by other stores on the block. I want to admire the shy, balding hippy who runs the place, and his quiet young apprentice, who volunteers five hours a week for unlimited free trade-ins. In my first year in every city I've ever lived in, I've made the rounds of the local used bookstores. Usually my initial trip is also my last. My latest such dalliance was with two places down in Old City Philadelphia. Not wanting to leaving empty handed, I walked out with a frayed history of colonialism in Latin America and a collection of Vonnegut short stories. Both are sitting just where I left them when I came home, in a stack at the foot of my bed. One problem with big chain bookstores, I suppose, is the way they press books upon you, with table displays and prominent shelf placements. It's hard to discern value that way, too, as hard as it is to determine the same among the undifferentiated clutter of most used book stores. That's why, all in all, I prefer hand-me-downs from friends, and the library.Emre: I find it hard not to get new, crisp books. There is a certain delight in slowly molding a novel's spine until the covers bend for a comfortable one-hand-hold read. And, they smell good. That said, I prefer used books when reading not-so-recently published works. I appreciate three qualities in used books: artwork and fonts from a different era, notes by various previous owners (I enjoy the conversation regardless of whether we agree or not) and the randomness that often characterizes how I get them. So far they have - through friends, hole-in-the-wall bookstores or sidewalk vendors - introduced me to Bulgakov's The Master and Margarita, Vonnegut's Slaughterhouse-Five and The Sirens of Titan, and Dumas's The Count of Monte Cristo, among others. As for collecting and caring for vintage books, I got nothing. Some sort of book karma seems to be recycling everything that passes through my hands.Emily: Although I love a good rare books room (nothing like the feel of vellum and a little paleographic challenge), I don't own anything much that's worth more than the paper it's printed on. I do own a first edition of Mary McCarthy's first novel The Company She Keeps, but that wasn't more than fifty dollars. No, the most expensive book in my collection, coming in at a whopping $92 plus shipping, is (try to contain your jealousy) the out-of-print Life, Letters, and Philosophical Regime of the Third Earl of Shaftesbury, edited by Benjamin Rand (1900). It's a discharged copy from the University of Tennessee at Knoxville and falling apart in spite of the fact that quite a few of the pages were uncut when it arrived. This purchase was practical: The Stanford library didn't have a copy and since I didn't make it to see the manuscript version of Shaftesbury's regimen at the National Archives in London, this was the most expedient solution. In general, I'm pretty cheap when it comes to books. My most recent acquisition, for example, was a copy of La Princesse de Cleve (1678) by Madame de Lafayette, considered by some literary historians to be the first European novel. And that was free! (The only treasure in box of books left outside a used bookstore after hours.) Probably my best "find" after a copy of Colley Cibber's classic (and then, perhaps still, out of print) early eighteenth century play The Careless Husband that I found on the sidewalk in Park Slope.Max: All three types of books speak to me. I blossomed as a reader thanks to used bookstores in Washington, DC and Charlottesville, where the books were cheap and I could easily compile the oeuvre of whoever I was obsessed with at the moment, Vonnegut or John Irving or Hemingway. But I've soured a bit on used books because too often used bookstores are hobbies of hoarders and impossible to navigate, or they are too polished and expensive. I will always love, however, the pocket paperbacks of the 50s to the 70s. I love the cover designs across those eras and I love being able to have a book with me, quite literally in my pocket, without having to schlep it awkwardly under my arm.But new books are in most cases better. I find them incredibly tempting with their shiny covers and crisp pages, though, as noted, I do get a bit weary of lugging hardcovers. As for the antiquarian books, I sometimes fancy the idea that it might be fun to be a book collector, but I know I do not have the temperament for it. I cannot see books as objects in that way, and, with the few books of value I have accumulated over the years, I fret about what I am supposed to do with them... sell them? Lock them in a safe? They sit in a box so that they won't get wrecked. And that's no place for books to be.So, tell us, in the comments or on your own blog: Used, new, or antiquarian?
Jerome Weeks has an interesting post up at his blog about the impact of Louis-Ferdinand Celine's novels Journey to the End of Night and Death on the Installment Plan on the work of Kurt Vonnegut.Both novels were written 30 years before Slaughterhouse: Celine was seriously wounded in battle during World War I, while Vonnegut, of course, survived the firebombing of Dresden in World War II. But Celine's fractured narrative style, in particular, had an enormous influence on Slaughterhouse (and Catch-22, as well).And in the Philly Inquirer, Carlin Romano tries to explain just why Vonnegut has been such an enduring novelist, "why Vonnegut's leaps of inventiveness satisfied so many, why his political stilettos estranged so few."
Awoke to the news that Kurt Vonnegut died. His death was somewhat unexpected, coming after a fall at his home in New York, but he lived a full life, even penning a surprise bestseller that put him back in the public eye in 2005. That was fun to see because, though Vonnegut may be one of the most important writers out there for me as a reader, most of his literary output came before I was born.When I was a younger reader, I was a completist. I didn't have knowledge of dozens of books and writers at my fingertips, so when I found a book I really liked, I would read everything by that author. And so it was that I read substantially everything that Vonnegut had written before I left home for college, starting with a late novel, Hocus Pocus, after finding it lying around the house when I was 14 or 15, and finishing up with Player Piano, Vonnegut's first novel, on a long, late-summer car ride home from Maine, a few weeks before moving away from home. So, in many ways, Vonnegut was in the background through my teenage years, providing a vivid counterpoint to the mundanities of suburban high school life. His books are very important to who I am as a reader and a writer, so I'm sad to see him go.Some links: My call for more people to read the lesser-known Vonnegut novels. The New York Times obit.Update: Some of you may be seeing a lot of folks writing "so it goes" today in response to Vonnegut's death. For those who are curious as to why, the phrase comes from what is perhaps his most famous book, Slaughterhouse-Five, where he wrote: "When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in a bad condition in that particular moment, but that same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is 'So it goes.'"Also, I found Vonnegut's official site to be particularly poignant today.