One of the many pleasures of reading Anthony Varallo’s fiction is how skillfully he inhabits the points of view of his adolescent and child characters. They aren’t bossy, diminutive adults who tell the real adults how to behave and what to think. Instead, they’re bona fide children and teenagers who see the world as kids believably would.
The Varallo short story that I find myself going back to most often is “The French Girls,” which appears in Out Loud, Varallo’s second collection, which won the 2008 Drue Heinz Literature Prize. This story—about the reaction to three foreign exchange students enrolling at an American high school—spans only two pages, but the author captures with an almost preternatural artistry the nostalgia and treacherous suspense of adolescence. The charm and knowingness of this story are indelible.
In The Lines, Varallo’s fifth book and first novel, the author embodies the adult and child point-of-view characters with similar nuanced humor and sympathy. The Lines is set during the gas crisis of the summer of 1979 and begins when two parents announce their divorce to their son and daughter, ages seven and 10, who subsequently become unwilling witnesses to the family’s demise.
Via email and Google Docs, I recently had the opportunity to correspond with Anthony Varallo about The Lines.
Christine Sneed: Having been a young boy in the 1970s, you likely remember the gas crisis of 1979 first-hand—what came first, the idea of a family breaking apart or the dramatic backdrop of the American gas shortage that informs your title?
Anthony Varallo: The original title for the novel was The Parents, the Children, and that’s very much the way I thought about the book as I was writing it: a story about parents and children, divided into sections, in alternating perspectives that explores a single summer viewed from four different consciousnesses. So, the family came first.
The novel was always set in the 1970s, but the specific 1979 gas crisis actually emerged in later drafts. I hit upon the idea of setting the novel in the summer of 1979 when I realized the characters kept stopping by the same gas station, which led to me describing the gas station, which got me thinking about gas station details, which led me to researching those details—what did gas stations look like in the 1970s?, etc.—which led me to the gas crisis of 1979.
I do remember the summer of 1979 pretty well, actually, but my only memories of the gas crisis are of adults either joking or complaining about it. It was something adults seemed to complain about a lot, along with the other stuff adults seemed to complain about a lot (bills, taxes, having to drive kids around, humidity, aches and pains). But, honestly, in the summer of 1979, I didn’t spend much of my time thinking about world events; I spent most of my time watching TV and eating sugary snacks.
Oddly enough, the very last element to arrive was actually the title, The Lines, after my wife pointed out that the gas lines are the thing most of us remember about the gas crisis of 1979. I also liked the idea of “lines” referring not only to the literal gas lines, but perhaps to storylines, too, if that’s not too much of a push.
CS: The Lines’ third-person point of view moves between the mother, father, boy and girl, and you roam among them with an enviable ease. Was the POV always this alternating close third-person?
AV: Yes, the POV was the one thing that remained consistent throughout the two years it took me to write The Lines. I knew I wanted to write a narrative in an alternating, close third-person perspective, a technique that would afford me all the intimacy of first-person POV while still lending the distance and objectivity of third-person.
That’s nice of you to say that I roam among the characters with ease—thanks!—but that’s not at all how I felt when I was writing the book. It took me forever to figure out how many perspectives I could inhabit in each section, one or two or more, until I realized the POV worked best when I explored one consciousness per section, with some latitude to comment on exterior events (what James Wood might call “free indirect style”), something my editor encouraged me to amplify in the second half of the novel. At times, the POV breaks into a near omniscience in the closing pages of The Lines, which is something I’ve never tried before.
CS: Adults in this novel often do or say questionable things—Gumma, for example, the children’s paternal grandmother, is an alcoholic who phones the boy and girl often and makes cringe-inducing statements she claims will help the children be more vigilant of potential dangers. Was Gumma always as…problematic or are there different versions of her in different drafts?
AV: Christine! I can’t believe you’re asking this question, because this is one thing I was hoping no one would notice about this novel, but what the heck, you’ve got me cornered: Gumma is actually a composite character of two characters from an early draft: one, a mean-spirited aunt who calls the children to tell them terrible things; and two, Gumma, whom I envisioned as a truth-telling, yet mostly-benign margarita enthusiast, who lives in Florida and likes to drive her golf cart around her neighborhood while under the influence. In later drafts, I combined the aunt and Gumma into the same character, reworking the dialogue and changing some of the details so that it would seem plausible that Gumma would say and do all of these questionable things. The result is a darker Gumma, more menacing, but still with some light comic touches too.
CS: The four main characters are never addressed by their given names, but some of the supporting characters, such as the two people the mother and father begin dating after their separation, are named. What is your rationale for not naming the four focal family members?
AV: The idea of leaving the four main characters nameless started off as nothing more than an experiment: I wanted to see if I could do it without getting into pronoun confusion. Luckily, since the family is separating, the four main characters are rarely in scene together at the same time, so that made the challenge a bit easier. Sometimes I’ll impose some kind of technical challenge on myself, just to see where it leads me. Those kind of self-imposed challenges help keep me going in my writing, especially through the long haul of the novel.
That said, I wouldn’t recommend this technique too highly, since it prohibits exploring the characters’ pasts in great depth. So, for example, if I wrote “The father recalled his kindergarten playground, where the father liked to swing on the swing-set and slide down the sliding board,” the reader will picture an adult male swinging on the swings and sliding down the sliding board. Which would be…odd. The technique only seems to work in present tense narration, with nearly all the action unfolding in the present, as is the case with The Lines.
CS: The boy, who is seven, is probably my favorite character—he’s sweet, funny, and earnest and still believes in the goodness of the world and his adult caretakers, and as a result is easily victimized. Is a child’s POV one that you find yourself able to inhabit instinctively or is it hard work? Or both?
AV: I had a lot of fun imagining what life was like for him. I knew I could play his “unreliable” perspective for irony and humor, but I wanted to be careful not to overdo it. I didn’t want his naivety to be his only trait; I wanted him to have the capacity to change too. My approach to writing my child characters is to allow them to see the world of the story in all its brightly lit particulars, with 20/20 vision, but not nearly as able to understand what they are seeing. So, the boy sees everything that the girl sees, for example, but what’s clear to the girl (and the reader) is often a mystery the boy has yet to solve.
I’ve written several narratives from the perspective of children, so I guess it does feel comfortable to me on some level. Still, I try to take into consideration a reader’s possible objections to inhabiting a child’s POV—sentimentality, familiarity, a child narrator who is ridiculously wise beyond his/her years, etc.)—something I’ve had to learn over the years. My one rule about child characters in general is: no “cute” children in fiction. Your child characters can be sharp, observant, curious, even clever, but they cannot be “cute,” or say “cute” things, or, God forbid, redeem the sorrows and complications and disappointments of adulthood by just being plain adorable. No.
CS: Until now, your books have all been short story collections. Can you comment on why, after four collections, you decided to write a novel?
AV: Well, the real answer is: because I did write novels before, but no one would publish them. But the sort of real answer is: because I’ve always liked the short story a little bit better than the novel, since that’s what I teach and read and edit, and since that’s the form that means more to me than any other. Another answer is: because novels are really hard to write, and it took me forever to write one that someone actually wanted to publish. All of the above are true.
CS: Each of the 14 chapters in The Lines is broken into several short sections—did you feel at times as if you were writing a short story? The narrative compression seems short story-like too.
AV: My original idea for The Lines was to write a “collage” novel that would employ vignettes, short-shorts, flash fiction, and short sections in some kind of point and counterpoint fashion to tell a story about a family of four going through a transition. My models were Jenny Offill’s Department of Speculation, Renata Adler’s Speedboat, Elizabeth Hardwick’s √Sleepless Nights, and Jacqueline Woodson’s Another Brooklyn. I was able to write the opening pages of The Lines in this style, but, like nearly every writing idea I’ve ever had, this one started to break down after about 20 pages or so. I couldn’t write the “collage” novel I’d set out to write; I had to give up on my plan and let the story instruct me how to write it instead. I don’t know why I have to keep learning the same lesson again, but here’s one I can never quite seem to remember: Your writing doesn’t really care about your plans for it.
Yes, I was aiming for compression throughout the novel, both at the sentence and paragraph level. I wanted The Lines to be the kind of novel that hits as hard as a short story, since those are the kind of novels I like best. I also wanted each section to have some emotional compression, too, where the character reveals something to the reader they likely wouldn’t reveal to anyone else, ever. Eventually, I began to see that as one of the themes of the novel—the pleasure of having a private life, private thoughts no one will ever know—even though I get a little nervous thinking about themes in my writing.
CS: Who are some of your key influences? And would you say that, like John Updike, your default mode is the comic?
AV: I’m glad you mention Updike, since I sometimes get the feeling that no one really reads him anymore. His writing is important to me in the way it says yes to the world, the way it embraces everything, no matter how ordinary or banal or insignificant (He wrote a little too often about golf, but oh well.). That’s a quality that I notice about most of the writing I love, the way it finds the extraordinary in the ordinary. That still means something to me. I also love humor, of course, maybe too much at times. My stuff always reads a bit lighter to me than I intended, not sure why. Lightweight syndrome? But the writers I’m reading right now with the most enthusiasm are Sally Rooney, Rachel Cusk, Elena Ferrante, and Karl Ove Knausgaard. And a few dozen others I’m utterly failing to mention.
CS: What are you working on now?
AV: I am working on another novel. It’s in that stage where I can’t quite explain what it’s about yet, which has been the case with every novel I’ve ever written or tried to write. I’m hoping this stage will pass soon, and I can answer this question with a jacket copy-worthy sentence.
1.A week before the Camp Fire raged through Butte County and decimated a little town called Paradise, I sat on the edge of Lake Tahoe, reading, until the sun went down. That evening the sun grew round and pink in the sky, and as it swelled, it turned the clouds pastel, too, and made a rosy blanket out of the lake’s surface. Usually the wind picks up at sunset and the water heaves against the shore’s pebbled incline. But as I sat there, looking east to the peaks of the Sierra Nevada, the air was eerily still, even ominous. I thought it miraculous that our state had made it out of one of the most vicious legs of fall unscathed.
That evening was too miraculous to last. The long week of the fires, masks were donned as defense against toxic air. Texts and calls accumulated, from family and friends, either inquiring about the blazes or noting the destruction they had caused in their lives, or the lives of those who were special to them. Coworkers and passersby buzzed with nervous inquiries about what’s to become of this state. I’ve noticed a decline in the amount of hope people are willing to wrangle out of the maxim that the uncertainty of California’s future is the only certain thing about it.
Autumn in California has always felt existential, the grave threat of wildfires aside. The light shifts and my mood shifts with it, toward melancholy. I lean on books about the state or the American West or the “frontier” — that confused, cruel place! — and often resort to rereading a select few. This year was no different. (If anything, the impulse seemed more exaggerated since I resumed probing my family’s pioneer past.) And on the shore of Lake Tahoe that evening, I had beside me Joan Didion’s mournful but resolute Where I Was From. “The redemptive power of the crossing,” Didion writes of pioneers’ journey westward, “was the fixed idea of the California settlement, and one that raised a further question: for what exactly, and at what cost, had one been redeemed?”
Didion does not pose such questions with the hope that they’ll be answered. Instead, they’re a useful means of illuminating a consequence of turning places into ideas: fraught histories, and to some degree catastrophic natural disasters, get flattened out in spells of obsession. But even Didion, who demonstrates a grating awareness to the ways in which overdetermined relationships to geographies are formed, is not fully immune to the urge. In this way, Where I Was From fits comfortably into the long tradition of texts that seek to touch the weight of the West, California included — only to come up with dead ends and futile object lessons. Perhaps this might always be a symptom of writing sacrament into the land, or the less successful project of seeking to untangle one from the other.
Still, this shared and unrelenting ambition to confront the ineffable seems unity enough. My consideration of Didion’s insoluble questions about settler redemption cast new light on Willa Cather’s brimming masterpiece of a novel, My Antonia (1918), and Mary Austin’s stunning collection of lyric essays, The Land of Little Rain (1903), both of which were autumn rereads. It is equally easy to be seduced by the prose styles of Cather and Austin — each singularly beautiful, but similarly tender and sure — and thus to read these works solely for the aesthetic rush. But behind the bewitching descriptions of billowing prairie grasses and deep, desolate valleys is the pang of something more sorrowful, if not entirely sinister. These texts don’t have the relative advantage of historical distance, yet monumental atrocity haunts both, its effects delivered through key absences — mostly of Native Americans, unless they appear as quiet relics or in the form of landmark names — and the glaring implications of the rhetoric of forged possibility.
Eula Biss articulates the compounded factors of the American West better than I can, though, in her astonishing book Notes from No Man’s Land. Over 13 essays she examines the potent and enabling mixture of racism, selective memory, and downright delusion that continues to make the frontier idea feasible. I reread the title essay at least once a week this fall, each time in awe of Biss’s ability, through vignettes and telling details, to identify modern offshoots of the pioneers’ “hostile fantasy” — that grave “mistake of considering an inhabited place uninhabited.”
In the wake of California’s apocalyptic blazes, I suspect there’s some contemporary form of this fantasy at play, too. A form that, despite the new and intransigent reality of a prolonged Fire Season, still indulges an idea of misplaced resilience as a justification for business as usual. I’m curious to see how the next generation of California writers will toggle between depicting our new reality (perversely beautiful descriptions of flames aplenty) and tending the mythologies of our state that keep us all marching onward, toward infinity.
2.When I graduated from university earlier this year it felt like I was foreclosing on some other kind of infinity. Aside from the idea that I was to be endowed with a few practical skills along the way, my undergraduate education largely revolved around the selfish cultivation of my intellectual curiosity. I spent four years reading various works of literature before discussing them with any number of encouraging professors, whom I idolized. Everything about this loop of artificial circumstances felt limitless, and giving it up was sobering. But it was not until doing so that I realized how transactional college had made my relationship to reading. There was always the underlying pressure to read better, smarter, and more rigorously—not to mention the relative impossibility of applying such a careful practice to the handful of novels that had to be read each week. Because I am naive, few aspects of leaving college felt as revelatory as coming to terms with my altered relationship to books.
I thus spent the months just after graduation freshly falling under reading’s spell. I would go to work, then go for a swim, then cancel plans so that I could curl up with a book on some grassy knoll with a view of the Bay, in the light’s remaining hours. And, as if an immediate prompting from the gods, Between Friends: The Collected Letters of Hannah Arendt and Mary McCarthy — a book over which I’d been in a semester-long Library-Hold War — became mine for more than a week. (In one letter, Arendt deems a scarf gifted from McCarthy too beautiful to be a “use-object,” and I suggest you read the collection just for moments like that.) Because it was the letters’ perfect complement, I finally finished Deborah Nelson’s Tough Enough, which is a dazzlingly smart and persuasive examination of several female intellectuals who, at least rhetorically, took no prisoners. Naturally this called for a rereading of Renata Adler’s perfect and hilarious novel Speedboat and a first galavant with n+1’s pamphlet, No Regrets, which features several discussions between women writers about reading in their 20s. Wisdom abounds in this delightful little book on topics like unusual author pairings and navigating first encounters with theory. But the conversations that both challenge collegiate obligations to the “boy canon,” and also the “oughts” of disciplined reading, were of particular comfort to me during my postgraduate limbo.
Regardless, there was still the plan, during those lulling summer months, to finally conquer George Eliot’s Middlemarch because the novel is Important. The conquering was to be done with a friend, also a recent graduate, who lived in Rhode Island. Through June and July he sent clever messages about his progress with the book until he finished it entirely. I disappointingly did neither. But what I did do — that is, fully immerse myself in the world of newly published fiction for the first time — was mostly a joyous and worthwhile experience.
I read Ottessa Moshfegh’s pithy and conniving My Year of Rest and Relaxation. Then there was Andrew Martin’s enviably precise debut Early Work, which seems the blueprint for a certain kind of LRB-reading, late-millennial milieu. Ling Ma’s Severance is a dynamic and intriguing courting of the old “goodbye to all that” adage, though here it gets an update, you might say, with the onset of apocalypse, epidemic, and the ills of late capitalism. And I enjoyed Lisa Halliday’s Asymmetry, not least for the author’s near-philosophical treatment of an affair between a young, intellectually ambitious editorial assistant and a decaying, Roth-like writer. These books, with the exception of Moshfegh’s, join a host of recently published works whose plots are driven, in part, by the demands of literary production and the apprehensions they generate. More interesting still is the overarching trend in characterization: fictional attributes seem to emerge almost exclusively through the real-world connotations of cultural objects and of industries, rather than through descriptive language. This year novels and memes appear to have functions in common.
I found the fiction-as-snapshot tendency compelling, but R.O. Kwon’s The Incendiaries was a refreshing departure from the above works. It’s a stunning novel. The author’s ability to maintain such a streamlined style while fostering her characters’ unique perspectives is nothing short of alchemy. I feel similarly enthusiastic about Lydia Kiesling’s The Golden State, which I regret reading in a sitting because I didn’t want it to end. This debut is a welcome modernization of the California novel because it seamlessly challenges all the genre’s mentioned absences, and also makes room for literary documentation of parenting’s tediousness. And while the contemporary and its objects loom large in Keith Gessen’s A Terrible Country—Russian politics, Facebook, and the grim academic job market all make cameos—I ardently devoured this book and reveled in the presence of its narrative arc, a construction that feels rarer and rarer.
Sheila Heti’s Motherhood yielded the most obliterating reading experience of the summer. I picked up a copy the weekend my family was in town for my department commencement, and in between the hours we’d spend together, I’d sneak away to read bits of it. The book’s central question is outwardly simple: Should or shouldn’t the writer-protagonist have a baby? But what transpires from this question is a profound and expansive engagement with all the ways one can be a mother, or a child. In a later chapter titled “PMS,” our narrator wrestles with her mother’s own parenting orientation. That is, how the narrator’s mother “lived her life turned towards her mother,” and not towards her offspring.
I clung tightly to this articulation of a life turned backwards, of a life lived for one’s mother, either out of honor or indebtedness or both. Though I read Jacqueline Rose’s comprehensive Mothers: An Essay on Love and Cruelty back in April, it wasn’t until encountering Motherhood that I felt as if a book had captured all that is indescribable, and oftentimes inexplicably tragic, about matrilineal bonds. What’s more, Heti confronts earnestly what can sometimes feel mystical about maternal lines, not least for their internal logics and passed-down lore. And as much as these bonds can be sources of love and pride, they can also be wells of great sadness, regret and loss. The afternoon I finished that chapter titled “PMS” I sobbed and sobbed, and then met my mother for a walk. As we ambled through the eucalyptus groves on my college campus, she retold the story of her medical school aspirations and how my birth had superseded but not ruined them. I told her I did not take it for granted that she was turned towards my brothers and me.
3.In these final moments of 2018, the mystical has hurtled into my life once again. If you walk into a bar or coffee shop in many parts of the Bay Area, you’re bound to hear people discussing astrology. Asking one’s star sign seems as much a habitual platitude as it does a search for cosmic compatibility. I remain skeptical, but I get the craze: like the mythologizing of California or the psychic weight one attributes to matrilineal bonds, astrology affords us an organizing principle for all that seems destined and chaotic in life. Now I reluctantly read The Cut’s Madame Clairvoyant column for my sign’s entry (Taurus) and also the entries for the signs of people I love or loathe. Then I check them all against tweets from the Astro Poets.
My doubt of and preoccupation with astrology has met its match in Theodor Adorno, the Frankfurt School darling and iconic grump. I recently finished his tome-like 1957 essay “The Stars Down to Earth: The Los Angeles Times Astrology Column,” which takes Carroll Righter’s new age-y, quintessentially Los Angeles horoscopes column as its case study. From there, Adorno harangues his readers about astrology’s “pseudo-rationality” and its horrible incentive to “provide gratifications to aggressive urges on the level of the imaginary.” Naturally this means that people who “choose” astrology possess a lack of what is vaguely called “intellectual integration,” which I guess is depleted most profoundly by the unravelling of the social world.
There is something sustaining, or at least entertaining, about Adorno’s application of a critical seriousness to an enterprise he found so critically unserious. But the idea of closing out the year with such a dense and misanthropic essay is virtually unbearable to me. To remedy this I’m returning to Kiese Laymon’s Long Division, which is the first novel I read in 2018. As I revisit its pages, I am struck by how impossible it feels to capture all that Long Division does and is, in a matter of sentences. The book has time travel and romance and confrontations with race, sexuality, and gender, all of which are often cleverly introduced through the guise of satire, or wordplay. Moments of humor masterfully become moments of critique. For 2019 we should take note of how Laymon treats the realms of history and language with a cautionary capaciousness. Within the vastness of both there is always the threat that the reprehensible and catastrophic will multiply or mutate — and yet there remains room and potential enough to create something better.
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“Though female authors write experimental novels about women—like Renata Adler’s Speedboat or Sheila Heti’s How Should a Person Be?—the avant-garde has long been associated with male authors and stories. That association made Alexandra Kleeman’s You Too Can Have a Body Like Mine seem doubly unusual.” On Kleeman’s debut novel and blatantly feminine themes in the avant-garde.
As if to mark the new year, or as if preemptively depressed by the brutal lows and snows of the months to come, our thermostat suffered a nervous breakdown in the first weeks of 2015. The new normal was 63 degrees Fahrenheit. I’d wake before dawn, put on long johns, pants, fleece, and hat, and sit down at my desk, between north-facing windows, trying to start something new. The phrase “rough draft” took on a new meaning. As did the phrase “starting cold.” By noon — an interval during which I’d moved only to shower and take the kids to school and re-wrap myself in a horse blanket — my fingers and nose were phantom appendages. Looking back on this now, though, I feel a surge of warmth. Why? Because every afternoon, after a late lunch, I’d fire up the space heater in the living room and sprawl in a patch of sun and return to an imagined Italy.
I’d begun Elena Ferrante’s Neapolitan Novels with a rationing plan: one volume for each season of the year, to culminate with the publication of the fourth and final installment in September. But a week after I finished Volume 1, that plan went all to hell. More than Lila and Lenù (heroines, antagonists, entangled particles), I missed the volcanic energy they generated together. Nothing else I tried to read seemed quite as vivid. So I dipped into Volume 2 — just a few pages, I told myself. And then when I reached the end, I didn’t even pretend to wait to begin Volume 3. At various times, in the empty house, I caught myself talking back to the page. “Wake up, Lenù!” “Don’t open that door!” “Oh, no, she didn’t!” Oh, yes, she did.
The only not-fun part of binge-reading the Neapolitan series was running out of pages before the end — which, by mid-February, I had. I felt like Wile E. Coyote, having raced out over a canyon, legs still churning, but with nothing left beneath. Eventually, I found a different kind of escape: Ivan Goncharov’s Oblomov, a dreamy 19th-century Russian novel where, basically, nothing happens. Rather than distract me from my snowbound state, this novel seemed to mirror it. For the first 100 pages, Oblomov, our hero, can’t even get out of bed. He’s an archetype of inanition, a Slavic Bartleby, but with a gentleness of spirit that’s closer to The Big Lebowski. He falls in love, screws it up, gets rooked by friends and enemies…and hardly has to change his dressing gown.
Sufficiently cooled from Ferrante fever, I moved on to Elizabeth Hardwick’s Sleepless Nights, from 1979. I’ve taught (and admired) Hardwick’s essays, but was somehow unprepared for this novel. Fans often mention it in the company of Renata Adler’s Speedboat and Joan Didion’s Play It as It Lays, with which it shares a jagged, elliptical construction and a quality of nervy restraint. But where the fragments of Adler and Didion suggest (for me, anyway), a kind of schizoid present-tense, Hardwick’s novel is as swinging and stately as a song by her beloved Billie Holiday, ringing “glittering, somber, and solitary” changes from remembered joy and pain.
As the glaciers beyond my windows melted to something more shovel-ready, I began to fantasize about a piece called “In Praise of Small Things.” At the top of the list, along with the Hardwick, would go Denis Johnson’s Train Dreams, the story of a Western railroad worker around the turn of the last century. I’m still a sucker for full, Ferrante-style immersion (favorite Westerns include The Border Trilogy, Lonesome Dove, and A Fistful of Dollars), but to deliver an entire life in a single sitting, as Johnson does, seems closer to magic than to art. Train Dreams is just about perfect, in the way only a short novel can be.
Then again, I also (finally) tackled The Satanic Verses this year, and caught myself thinking that perfection would have marred it. The book is loose, ample, brimful — at times bubbling over with passion. Another way of saying this is that it’s Salman Rushdie’s most generous novel. The language is often amazing. And frankly, that the fatwa now overshadows the work it meant to rub out is a compound injustice; many of the novel’s most nuanced moments, its most real and human moments, involve precisely those issues of belief and politics and belonging Rushdie was accused of caricaturing. Also: the shaving scene made me cry.
Though by that point spring had my blood up. Maybe that’s why I was so ready for Giuseppe Tomasi di Lampedusa’s The Leopard. Or maybe it was the return to Italy. Either way, this turned out to be one of the most beautiful novels I’ve ever read. As with Hardwick, the mode is elegy, but here all is expansion, sumptuousness, texture: the fading way of life of an endearingly self-regarding 19th-century aristocrat, ambered in slow, rich prose (in Archibald Colquhoun’s translation): “In a corner the gold of an acacia tree introduced a sudden note of gaiety. Every sod seemed to exude a yearning for beauty soon muted by languor.” And by the time I finished, gardens were blooming and buzzing around me, too.
I woke the morning after our Fourth of July party to find that a guest had left a gift: Between You & Me: Confessions of a Comma Queen, Mary Norris’s memoir of life in the copy department of The New Yorker. We headed to the beach, on the theory that saltwater is an antidote to hangover. But I ended up spending most of the afternoon on a towel, baking, giggling, geeking out over grammar and New Yorker trivia. What kind of magazine keeps a writer this engaging in the copy department? I wondered. On the other hand: what are the odds that a grammarian this scrupulous would be such a freewheeling confidante?
I don’t think of myself as a memoir guy, but (appetite whetted by the Comma Queen), I ran out a few weeks later to buy a brand new copy of William Finnegan’s Barbarian Days — a book I’d been waiting to read since first encountering an excerpt a decade ago. Finnegan is a brilliant reporter, and the core material here — his life of peripatetic adventuring in the 1970s — seems, as material goes, unimprovable. Around it, he builds a narrative that is at once meticulously concrete and wonderfully, elusively metaphorical. Even if you don’t know or care about surfing, the whole thing starts to seem like some kind of parable. Which may be true of most good sports writing…
And speaking of brilliant reporting: in early August, I plucked a copy of David Simon and Ed Burns’s The Corner from the giveaway pile on someone’s stoop. It’s exhaustive — almost 600 pages, and none of the broad strokes, in 2015, should come as news. Yet its account of individual struggle and systemic failure in a poor neighborhood in Baltimore is nonetheless enraging, because so little seems to have changed since the book’s publication in 1997. I found myself wanting to send a copy to every newsroom in the country. Here on the page are causes; there in the paper years later, effects.
It would take a week of vacation and newspaper-avoidance in Maine to remind me of how urgent fiction can be, too — or of the value of the different kind of news it brings. I read A Sport and a Pastime. I read Double Indemnity. I read The House of Mirth. And I fell into — utterly into — Javier Marías’s A Heart So White. This novel has some similarities with The Infatuations, which I wrote about last year; Marías works from a recipe (one part Hitchcock-y suspense, one part Sebaldian fugue, one part sly humor) that sounds, on paper, like a doomed thought experiment. Yet somehow every time I read one of his novels, I feel lit up, viscerally transfixed. And A Heart So White is, I think, a masterpiece.
This October, I published a novel. And I came to suspect that prepub jitters had been shaping both my reading and my writing all year, from those cold dark starts in January to my lean toward nonfiction in the summer. Anyway, some admixture of vacation and publication (the phrase “release date” takes on a whole new meaning) seemed to cleanse the windows of perception, because I spent most of the fall catching up on — and enjoying — recent books I’d missed. Preparation for the Next Life, for example, was love at fist page; if you’d told me Atticus Lish was another of Don DeLillo’s pseudonyms, like Cleo Birdwell, I wouldn’t have batted an eyelash. Yet an eccentric and (one feels) highly personal sense of the particular and the universal colors the prose, and Lish doesn’t let sentimentalism scare him away from sentiment. His milieu of hardscrabble immigrants and natives jostling in Flushing, Queens, feels both up-to-the-minute and likely to endure. Someone should Secret-Santa a copy to Donald Trump.
Another contemporary novel I loved this fall was actually more of a novella — another small, good thing. Called Grief Is the Thing with Feathers, it’s the first published work of fiction by a young Englishman named Max Porter. It follows a father of two through the year after the death of his wife. The chapters are compressed, poetic vignettes that evoke the chimera of grief through suggestion and indirection. And then, more evocative still: the arrival of a giant, metempsychotic raven straight out of Ted Hughes’s Crow. You quickly forget that the book is weird as hell, because it is also beautiful as hell, moving as hell, and funny as hell.
In late October, I got to spend a week in the U.K., and decided to pack London Fields. A boring choice, I know, but I’d been shuttling from here to there for a few weeks, and needed to be pinned down in some specific, preferably Technicolor, place. London Fields didn’t let me down. The metafictional schema shouldn’t work, but does. And more importantly, a quarter century after its publication (and 15 years on from the pre-millennial tension it depicts), the prose still bristles, jostles, offends freely, shoots off sparks. The picture of the world on offer is bleak, yes. Yet in surprise, in pleasure, in truthfulness, almost every sentence surpasses the last. This book is now my favorite Martin Amis. I wouldn’t trade it for love or Money.
As synchronicity goes, M Train on a plane may not quite match London Fields in London, but Patti Smith’s new book remains one of the best reading experiences I had this year. Like Grief Is the Thing with Feathers, it is elliptical and fragmentary, weird and beautiful, and, at its core, a reckoning with loss. Much has been made of the book’s seeming spontaneity, its diaristic drift. But as the echoes among its discrete episodes pile up, it starts to resonate like a poem. At one point, Smith writes about W.G. Sebald, and there are affinities with The Emigrants in the way M Train circles around a tragedy, or constellation of tragedies, pointing rather than naming. It is formally a riskier book than the comparatively straight-ahead Just Kids, but a worthy companion piece. And that Patti Smith is still taking on these big artistic dares in 2015 should inspire anyone who longs to make art. In this way, and because it is partly a book about reading other books — how a life is made of volumes— it seems like a fitting way to turn the page on one year in reading, and to welcome in another.
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Renata Adler’s new collection, After the Tall Timber, which spans 40 years of her reporting, essays, and criticism, has a distinctly valedictory purpose. It is startling to be reminded that Adler is now 76 years old — a product, as she calls herself, of World War II and the Dwight D. Eisenhower era. Her voice on the page is ageless; never that of a young writer precisely, it is even now not the voice of senescence. From the start, Adler’s work has been sophisticated, well-defended, and willfully provocative. The strong tendency of her career has been to resist the received idea — to unpack that idea, disprove it, and remind the reader whose interests the false account serves. After the Tall Timber implicitly argues for a particular view of Adler as a writer, the bomb thrower-aesthete. But as the title of her 1970 collection, Toward A Radical Middle, suggests, Adler is a bomb thrower of a curious sort, a Jean-Pau Marat figure in the service of what can seem distinctly like ancien regime values: erudition, critical distance, a restrained elegance of style.
Herewith follow some observations on one of the more unusual careers in American journalism.
1. She Is a Cautionary Tale
Adler has spent much of her career ridiculing her fellow journalists, and she has generally aimed high, repeatedly attacking The New York Times for what she views as its complacency and self-regard, lamenting the decline of The New Yorker following its sale to the Newhouse family, and suing Vanity Fair for libel. That all of these institutions employed her before, during, and/or after becoming the objects of her scorn tells us something about Adler’s self-conception; she is perennially Will Kane in High Noon, flinging her press pass into the dirt. Adler is a celebrity journalist who has decried celebrity and careerism as the dominant impulses of her peers. She has also walked the walk, consistently biting the editorial hand that feeds, frustrating the commercial motives of her publishers by producing uncategorizable work ranging across genres, and taking several years away from journalism at the height of her fame to earn a Yale J.D. Adler has written to please herself, and for posterity; and everyone else be damned. This has periodically left her unpublishable, or nearly so. These days, a journalist can want her autonomy, or she can want health insurance, but she had better not want both.
2. She Was Right About The New Yorker — Before She Was Wrong
Adler’s 1999 book, Gone: The Last Days of The New Yorker, asserted that the magazine was “dead” and that “not a single element” of the enterprise created by Harold Ross and carried forward by William Shawn remained. Adler had by then worked for The New Yorker for 35 years and was strongly identified with the magazine, though she had published elsewhere and had even left for 14 months to be The Times film critic. Shawn had, in effect, given her life as a writer, hiring her in 1963 while she was still a graduate student, and Gone is the work of someone who has taken her boss perhaps a little too seriously and the purported betrayal of the great man’s standards a bit too personally. It is also marred by a disconnect between its high-minded tone and a good deal of what amounts to score-settling with colleagues at the magazine with whom Adler had clashed either personally or in the internecine fights for editorial favor for which The New Yorker is famous. Gone is distinctly inside baseball, as one of its targets, Robert Gottlieb, noted in a New York Observer essay-review after the book was published, remarking of the web of interconnections among the main antagonists, “Small world, isn’t it?”
Still, Adler had a point. The New Yorker, at the moment she was writing, seemed to be badly adrift. The Newhouse family, owners of the glossy Condé Nast empire, had taken over in 1984, and the editorial direction signaled by the 1993 hiring of Tina Brown was not promising. Adler argued that the magazine under Brown and her predecessor, Gottlieb, had changed from being one that created its own audience through the integrity of its editorial product to one that sought a kind of commercial mean driven by a finger-to-the-breeze sense of what was hot or trending in the culture. As Gone went to print, David Remnick had just taken over from Brown as editor. How could Adler have predicted that The New Yorker under Remnick would become the consistently excellent publication that it is today — a New Yorker to rival the A.J. Liebling/Joseph Mitchell Golden Age?
3. Her Legal Journalism Is Especially Distinguished
Adler was part of a vanguard, including Lincoln Caplan, James Stewart, Steven Brill, and others, who brought to legal journalism a new rigor, technical competence (each of the foregoing had a legal education), and understanding of the law’s disciplinary tensions and limitations. Adler was a trained lawyer, but she brought a philosopher’s fine attention to the subtlest processes of discourse — to the vigorous fakery, really, of much legal argument. In this, Adler’s model seems to have been Hannah Arendt, whose Eichmann In Jerusalem is one of the first and most famous trial books.
In her writings on the law, as elsewhere, it can be difficult to tell whether Adler is a cynic or a scandalized idealist. From Reckless Disregard (1986), Adler’s great book about two high-profile libel trials of the early 1980s:
[T]hough the First Amendment has been held, since [New York Times v.] Sullivan, to tolerate a certain category of inadvertently false statements, in the name of freedom of debate and of expression, it cannot be held to license wholesale violations of the Ninth Commandment, or to abrogate a profound system of values, which holds that words themselves are powerful, that false words leave the world diminished, and that false defamatory words have an actual power to do harm. Nor can it be that any Constitutional or journalistic interest is served by these stages of resolute insistence (first, in the world, after the moment of publication; then, under oath, in the courts) that the story, the “witness,” as published, is true; and of resolute refusal to inquire (first, for reasons largely of public relations; then, when suit is brought, on the advice of lawyers), all for the sake of “winning,” and without care, at any point after publication, whether the story, the witness (now even in the literal, legal sense) is, quite simply, false.
“Decoding the Starr Report,” her attack on the goals, the methods, and the honesty of Whitewater Independent Counsel Kenneth Starr, is some of the best work of the later part of her career. Adler argues, through her customary method of close reading of sources and materials, that Starr’s investigation of the Clintons — for whom Adler also has no great regard — was lawless, self-serving, and entirely motivated by politics and personal enmity.
The six-volume Report by Kenneth W. Starr to the U.S. House of Representatives — which consists, so far, of the single-volume Referral and five volumes of Appendices and Supplemental Materials — is, in many ways, an utterly preposterous document: inaccurate, mindless, biased, disorganized, unprofessional, and corrupt. What it is textually is a voluminous work of demented pornography, with many fascinating characters and several largely hidden story lines. What it is politically is an attempt, through its own limitless preoccupation with sexual material, to set aside, even obliterate, the relatively dull requirement of real evidence and constitutional procedure.
“Decoding the Starr Report” is a confluence of Adler’s signature strengths: her Robert Caro-like doggedness with source materials; her vast rhetorical resources; her capacity, by no means common among journalists, for abstract thought; and finally — and this has served her well and at times not so well — her capacity for indignation.
Adler never practiced law, and she seems to have developed a hearty dislike for lawyers, for their self-importance, their ingrained relativism, and their combination of grandiloquence and syntactic clumsiness. It is easy to imagine, however, Adler having become a very powerful First Amendment lawyer in the Floyd Abrams mold — if only she could have behaved herself, even by the modest standards of contemporary law practice. But then, if she could behave herself, in the sense of not giving offense to judges and to her law partners and clients, she would not be Renata Adler, and “Reckless Disregard,” Speedboat, and the rest would never have been written. And how much does the world need another corporate lawyer, anyway?
One note of reservation. Adler’s editors have not served her well by reprinting “Searching for the Real Nixon Scandal,” her look back at the impeachment case presented by the House Judiciary Committee she served as a staffer. She argues, not entirely implausibly, that the articles presented against Richard Nixon were legally deficient, but also, startlingly, that Nixon should have been impeached for an entirely different crime: accepting bribes from South Vietnamese officials in 1972 to keep the U.S. in the war, leading to the needless deaths of U.S. soldiers. This is the sort of thing that should not be written in a magazine like The Atlantic (where the story was published, in December 1976) without substantial evidence, and the evidence, in my view, is not there. It is not that one is reluctant to believe the charge; at this point, one imagines the Nixon White House capable of almost anything. But Nixon, as Adler herself points out elsewhere, has the same right as anyone else to be convicted on the basis of evidence rather than innuendo. The inferential leap between the Nixon campaign’s notably opaque finances and the conclusion that blood payments from the South Vietnamese were thereby concealed is simply too great.
4. She Is an Exemplary Modern Novelist, But Not a Great One
Adler published two mid-career novels, Speedboat (1978) and Pitch Dark (1983), slender volumes about intelligent but neurotic women tossed by the roiling sea of New York media culture. Speedboat in particular owes a good deal to Joan Didion’s Play It As It Lays (1970), in which Maria Wyeth is a human seismograph, an instrument delicate, responsive, and finally inert. Adler’s novels are characteristic of the period in American fiction to which they belong, many of whose major figures (John Barth, Robert Coover, Don DeLillo, Didion) enacted a calculated distance from the traditional aims of narrative faction. Speedboat states its author’s position quite clearly:
There are only so many plots. There are insights, prose flights, rhythms, felicities. But only so many plots…Maybe there are stories, even, like solitaire or canasta, they are shuffled and dealt then they do or they do not come out. Or the deck falls flat on the floor.
Speedboat and Pitch Dark are back in print from NYRB, the publishing imprint of The New York Review of Books (the publication where Adler has perhaps belonged all along), and their virtues have been warmly extolled by a new generation of readers (“for sheer linguistic pleasure, fierce intelligence, and a vivid picture of seventies New York, look no further”; Sadie O. Stein, Paris Review blog). It seems almost inevitable that Adler’s novels, which have been passed hand to hand, samizdat-style, for decades, should be enjoying a renaissance now, at a moment when the privileged status of the traditional novel, and even the very basis of its claim on our attention, have been called into question. Critics like David Shields, who cites Speedboat approvingly in his manifesto, Reality Hunger, regard the imposition of order upon experience that has been the basic genre-work of the novel for 200 years as suspect, a dead letter, a mannerist exercise, in light of the way we live now.
I will admit to being a bit impatient with this claim, though not necessarily with the claimants. It is certainly true that one might find the order imposed by a given novel unsatisfying. More fundamentally, one might reject the entire Western enterprise of self-construction through narrative, preferring radical acceptance, or religious submission — some form of permitting the flow of experience to sluice over and around oneself rather than damning it up in the service of order; in this view, narrative is almost a form of technology, another wrongheaded Western means of taming nature. And I do understand the frustration of readers with the synaptic familiarity of novelistic plot, the patting down of loose ends that so often makes the last third of a novel so much duller than what preceded it.
And yet I think the smart money is on the novel to survive in the age of Twitter and beyond. Jonathan Gottschall has argued (The Storytelling Animal), to my mind persuasively, that narrative has an essential evolutionary function. Making meaning is as endemic to our nature as our biological functions. The revanchist argument for the traditional novel is deeply unfashionable just now; one risks being cast as stodgy, middlebrow Arnold Bennett to the brilliant, gossamer-like Virginia Woolf — and we know how that fight turned out. Still, we should not mistake the aesthetic exhaustion of a few writers, even very gifted ones like Adler, for the exhaustion of a genre as a whole. The novel has been a remarkably flexible and capacious form, adapting easily to the most jarring shifts in the social order, taking in Western and non-Western, advanced and relatively primitive societies. Perhaps the pure novel of consciousness, the lightly fictionalized, largely shapeless, one-damned-thing-after-another novel, of which Karl Ove Knausgård’s My Struggle is the latest instantiation, is simply one more adaptation. The fact that Adler published only two short, episodic novels in a long career (she told The Believer in 2012 that she had completed the manuscript of a third novel, but no announcement has since appeared) suggests that, for her at least, what seemed like a new pathway ended in an infernal grove.
This is not to deny the elegance and conviction of Speedboat and Pitch Dark, which have, perhaps, a small place in the history of the American novel. When I say that Adler is an exemplary modern novelist, I mean simply that she has any aesthetic agenda — that her work is self-conscious, the product of thought, as so many novels are not. That I have yoked her into service in an argument over the future of the realist novel is perhaps even a little unfair. Fitting, then, to conclude with a reminder of how well Adler the novelist actually wrote. From Speedboat, the toxic party we have all attended:
Some people, in a frenzy of antipathy and boredom, were drinking themselves into extreme approximations of longing to be together. Exchanging phone numbers, demanding to have lunch, proposing to share an apartment — the escalations of fellowship had the air of a terminal auction, a fierce adult version of slapjack, a bill-payer loan from a finance company, an attempt to buy with one grand convivial debt, to be paid in future, an exit from each other’s company that instant.
5. She Embodies a Paradox of Gender Politics
Some of the bitterest criticism of Adler has been heavily gendered. She has been accused of shrillness, vindictiveness, excessive self-regard — qualities that would not necessarily be disqualifying in a male journalist. The irony here is that Adler is in some ways an ambivalent feminist, an assertive woman writer who “reads male.” She is by no means reliably liberal in her politics, and she has demonstrated no excess of sorority in her treatment of Pauline Kael, Monica Lewinsky, and some other female subjects. For the most part, she has chosen to dwell within the largely male precincts of politics and law and has eschewed the “domestic” subjects toward which women writers are often steered. She has refused to be ghettoized, which can be read either as a feminist position or as a rebuke of the feminine sphere, or both. Like Hillary Clinton, she has been too “masculine” for some and can never be masculine enough for others. It is embarrassing even to invoke these categories; my point is that for a writer of Adler’s generation they were inescapable. This is one fight she never chose.
6. Her Work Was Made to Last
Most journalism is written quickly and is meant to be digested in the same way. One is reminded of the old Jay Leno joke about his being informed while flying that he could take the in-flight magazine with him when he landed: “No, thank you. I don’t think I’ll be wrapping any fish today.” Adler does journalism to a different tempo and with very different goals in mind. She aspires to write not just the first draft of history, but the last. She is justly praised as a stylist, but her work reminds us that elegance of style cannot be separated from elegance of thought. There can be no mere lacemaking for the author of “The Porch Overlooks No Such Thing,” her critique of The Times’s handling of the Jayson Blair affair:
[T]he Times, as an institution, believes what has been published in its pages. To defend this belief it will go very far. The search, the grail, the motivating principle for individual reporters has become, not the uninflected reporting of news, but something by now almost entirely unrelated: the winning of a Pulitzer Prize. In the interim, some other prize will do. But once won, the Pulitzer turns into both a shield and a weapon — a shield in defense of otherwise indefensible pieces by Pulitzer Prize winning reporters, a weapon in the struggle for advancement within the hierarchy of the Times. The paper still has some fine editors and reporters, with highly honorable concerns. But a five-year moratorium on the awarding of Pulitzer Prizes to journalists at powerful publications might be the greatest service to journalism the Pulitzer Committee could now perform.
In the puncturing of pretensions, this paragraph does double duty, letting some air out of The Times and the Pulitzers both. I suspect that I think more highly of The Times than does Adler; in a media age in which mere talk truly is cheaper than ever before, The Times is still slugging away in Aden and Caracas and Nairobi, trying to do honorable work on beats most journalistic organizations have long abandoned. The fact that a Times staffer may be reporting virtually alone in these places is, however, cause for more editorial vigilance rather than less. Like any other institution at heightened risk of dangerous self-regard, The Times needs critics like Adler, even if it cannot be expected to appreciate them.
“After the Tall Timber” is the kind of writing that ought to speak for itself, and perhaps one day it will. For now, every conversation about Adler’s work will also be a conversation about her controversies, her rages, her silences, and her enemies. Renata Adler has not been clubbable. She has picked fights. She has generally been eager both to take offense and to give it. And once the battle has been joined, she has always had to have the last word. For this, and for the great embarrassment of her irrepressible talent, she has not been forgiven.
I don’t know when this entry will run, but I am writing it on a Friday, and I’m supposed to have a baby on Tuesday. I’ve been home since Wednesday, prowling around the house — if a very pregnant person can be said to prowl — feeling lumpy and alert and expectant. It’s safe to say I’m weirding out a little. For weeks I have been in the grip of so-called nesting hormones, which are real, and which remind me of being in college and taking other people’s adderall to finish a term paper, except the term paper is cleaning baseboards, or finally buying a decent set of towels after reading a lot of information about what makes a towel nice, or creating tasteful yet affordable shared adult/baby bedroom decor out of an old calendar and 12 discount frames from Amazon. I’ve been reading a lot of Amazon reviews, so many that it doesn’t feel like I’ve read much of anything else.
But that’s not true — I read a book of essays by Nora Ephron. And I read this article in Harper’s, about squadrons of elderly people living in campers and humping merchandise through an Amazon warehouse. Nora Ephron feels bad about her neck; I feel bad about my ankles, and my strenuous participation in late capitalism. I feel bad about the number of huge cardboard boxes filled with tiny things I’ve gotten from Amazon. I don’t want to buy any more things from Amazon, but I don’t know how I will get my cat litter, or new hooks for my shower curtain, or a tiny dehumidifier that fits in a closet, or a ceramic space heater with automatic shutoff and remote control so the baby doesn’t freeze in our cold little house. I don’t know where I will read 400 earnest assessments of which Pack and Play is the best Pack and Play. Did I mention I’m weirding out a little?
Speaking of late capitalism, last week I read four children’s books by Beverly Cleary, because I have been thinking about what it means to have a family and to be middle class and the Ramona books feel like a portrait of a kind of family and life that is maybe on its way out in America. I read select passages from The Chronicles of Narnia to get in a more cheerful frame of mind, but not The Last Battle, because that’s the one where everyone dies. I read the first few pages of Renata Adler’s Speedboat because people are always talking about it on Twitter, but I didn’t understand what was happening and I took a break and then accidentally returned it to the library. I read some stories by Julie Hayden, and want to read more, but there aren’t very many to read. I read Rabbit, Run, which I had always assumed that I’d read and it turned out I hadn’t, and which I probably shouldn’t have read while nine months pregnant since it depressed and angered the hell out of me.
I read Invisible Man. I read Austerlitz. I read The Patrick Melrose Novels and was not as charmed as I had hoped to be. I read new things, The Good Lord Bird and Life After Life and The People in the Trees and Dept. of Speculation. I read Americanah over a blissful Easter Sunday, which I spent in bed eating popcorn in an empty house. I read Station Eleven over the course of a blissful regular Saturday, with my cats and my blanket. I read Thrown, which filled me with envy of people who are professional writers. I read Submergence. I re-read Dance to the Music of Time and The French Lieutenant’s Woman and Howards End and everything by Donald Antrim. I read small parts of a vast number of books about pregnancy and babies and felt overwhelmed with details regarding the cervix. I read all of Labor Day, because Edan is in it, and I found most of the entries frankly alarming, but less so than the comments on BabyCenter. I read a lot of studies about what the numbers on a nuchal translucency mean, and many opaque articles about Fetal Alcohol Syndrome.
As with every year, there were a lot of things I wanted to read and didn’t. I didn’t read anything by Norman Rush and I didn’t read anything by Ivan Turgenev or Katherine Mansfield or Karen Russell or Ben Lerner.
There were a lot of things I wanted to write and didn’t. I didn’t write an essay about my great-grandmother Vera. I didn’t write my Anita Brookner reader, or an essay about late capitalism, or a novel. Parenthood, as far as I know, is not a condition characterized by increased productivity, so I don’t know what will happen to these plans in the new year. I will say I have found pregnancy, for the most part, unexpectedly generative and wonderful. I mean, obviously, it’s generative, but I mean generative of things other than blastocysts and embryos, or of strong feelings regarding towels. I mean of thoughts about life and books and writing. The first real things I ever wrote I wrote after I met my husband and fell in love; maybe loving a new person will open other horizons. Maybe it won’t. It’s impossible to say. For now I’m just weirding, watchful.
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Another year has flown by and so has another Year In Reading. We thank everyone who participated and all who read and shared these wonderful pieces in our series.
While we trimmed our contributor list slightly this year, they shared their thoughts on more books than our participants did a year ago. 2013 brought 68 participants (down from 74 participants in 2012) sharing 350 different books (up from 289 a year ago). We’re happy to note that 11 of those authors highlighted in our series also submitted their own pieces in the series. The books selected run the gamut from nonfiction to poetry, short stories, essays, fiction, and even a zine and an interactive story.
The youngest author selected was Gabby Bess. Her book Alone with Other People was one of several selected by Roxane Gay. Bess was born in 1992. This beats out the next-youngest author, Eleanor Catton (b. 1985), whose Booker-winning The Luminaries was a selection of both Garth Risk Hallberg and Janice Clark, by quite a bit.
Finally, seven books were named by three or more Year In Reading participants, and six of those seven books were written by women. Rachel Kushner was the runaway favorite for her book The Flamethrowers, getting six mentions (picked by Garth Risk Hallberg, David Gilbert, Matt Bell, Bill Morris, Adam Wilson, and Elliott Holt.) Dave Eggers’s The Circle was picked by Choire Sicha, Hannah Gersen, and Tess Malone. Alissa Nutting’s Tampa was picked by Roxane Gay, Matt Bell, and Charles Blackstone. Renata Adler’s Speedboat was selected by David Gilbert, Matt Bell, and Emily St. John Mandel. Michelle Alexander’s The New Jim Crow was picked by Sergio De La Pava, Rachel Kushner, and Teddy Wayne. Meg Wolitzer’s The Interestings was chosen by three staffers: Hannah Gersen, Edan Lepucki, and Janet Potter. And Donna Tartt’s The Goldfinch was picked by Benjamin Percy, Edan Lepucki, and Janice Clark.
We hope you enjoyed we had on offer this month, and we’ll see you again next year.
P.S. Special thank yous are due to Ujala Sehgal and Adam Boretz, our tireless editors, who prepared every last one of our Year in Reading entries for publication. Also very deserving of thanks are Tess Malone and Thom Beckwith, both of whom have helped spread the word about our biggest Year and Reading to date, and to Nick Moran who oversaw their efforts and compiled the stats I used to write this very round-up. Thank you to our staff writers, whose pieces were some of the highlights of the series and who did wonderful work for us throughout 2013.
And of course, thanks to all of you, our readers, and to all a Happy New Year!
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I didn’t read as much as I would’ve liked this year, but that’s every year, isn’t it? And it’s probably also all of us. I don’t think any similarly book-obsessed person has ever told me that they are really happy with how much reading they’ve been able to get done this year and wouldn’t have wanted to read even one more book. We’re all writing and have day jobs and lives outside of books, and a flood of new releases washes over us every month. It’s usually possible to find some time to read, but never enough. Books accumulate in my apartment much faster than I can read them.
I tried, though. The last piece I published on The Millions was back in August and then I sold a novel, so I decided to take a brief hiatus from this site to concentrate on edits. I finished the first round of edits slightly ahead of schedule but didn’t mention this to my Millions editor (shh!) because what an incredible thing, I thought, to have found an extra month in which to get some reading done. I read compulsively for a week or two, trying to make a dent in the mountain of books that had been accumulating for months on the floor of my office.
But the one flaw in my brilliant plan was a rapidly approaching course of French lessons, which, I realized, would probably be somewhat less painful with a little preparation, so my reading time was eclipsed by studying, and then the next round of editorial notes came in and that, as they say, was that. Back to square one, which is to say back to my usual state of reading mostly on the subway to and from my day job and sometimes in a stolen hour just before bed.
Last month I read a wonderful novel called Scissors, by Stéphane Michaka, published in the United States this year. It is an unfortunate peculiarity of international publishing that while every year countless writers who work in English are translated into French, the reverse is comparatively rare. Scissors is among the few. Michaka’s novel concerns the fraught and ambivalent relationship between a writer very much like Raymond Carver and an editor very much like Gordon Lish, told in a series of first-person fragments from the perspective of the writer, the editor, and the writer’s successive wives, with the occasional Carveresque short story — the fictional writer’s output — embedded in the text.
Michaka is a vastly talented stylist, moving with ease between the distinct voices of several characters and presenting us with short stories that are perfectly plausible as having been written by Carver. And yet Scissors is extraordinary not only for its technical fireworks, but for the humanity and compassion with which Michaka presents his flawed and fascinating characters, in their struggles with alcoholism, with one another, with their work, with themselves. He writes with a light touch, but never trivializes. The book is tender without ever slipping into sentimentality.
This past summer I was greatly struck by My Autobiography, by Charlie Chaplin. A common criticism of the work is that it’s actually two books, with one being much more compelling than the other: there’s a riveting account of Chaplin’s Dickensian childhood in London — young Charlie and his brother Sydney spent their early years in and out of workhouses while their mother struggled with mental illness — followed by a parade of 20th-century celebrities. There’s some merit to this complaint, but to my eye at least, the first half of the book is more than strong enough to carry the second, and I found the second half fascinating in and of itself, both as a social survey of Chaplin’s era and as a portrait of a shy and often uncertain man caught in the grip of a previously unimaginable fame. Even Chaplin’s name-dropping often carries a poignant note:
I remember meeting the beautiful Josie Collins, the English musical comedy star, who suddenly came upon me walking along Fifth Avenue. ‘Oh,’ she said sympathetically, ‘what are you doing all alone?’ I felt I had been apprehended in some petty crime. I smiled and said that I was just on my way to have lunch with some friends; but I would like to have told her the truth — that I was lonely and would have loved to have taken her to lunch — only my shyness prevented it.
Earlier in the year I read Eric Barnes’s latest novel, Something Pretty, Something Beautiful, and have been thinking about it ever since. I reviewed it at length, so won’t go into it too much here, except to say that it stands as proof that some of the best books in this country are being published by the smallest presses, and that his account of a coming of age in working-class Tacoma is absolutely haunting and rings perfectly true.
Renata Adler’s Speedboat has been around since the late ‘70s, but when I read it this summer I had the sense of reading something completely new, that feeling of encountering something that had never been done before, or that had at least never been done nearly this well. The narrator of Speedboat is a young reporter, Jen Fain, and the book unfolds as a series of fragments: conversations, random musings (on the meanings of words, on catchphrases, on the ways in which we understand and fail to understand one another) and character studies, accounts of parties and gatherings, vignettes. The style is loose to the point of seeming randomness, the narrator often most notable by her absence, and yet by the end there’s an unexpected sense of cohesion, and of having somehow drawn closer to the narrator’s soul than would have been possible by more conventional means. I found this novel exhilarating.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
Looking back at my reading list for 2013, two books stood above all the other new books I’ve had the chance to read: The first is Susan Steinberg’s extraordinary third collection, Spectacle, which I’ve been obsessed with since it came out in January — and really, since ever before. One of the book’s stories appeared in American Short Fiction several years ago and that introduction to Steinberg set up some high expectations that were met then exceeded by the collection. In a year of great story collections, this is the one that stands apart for me. Smart and funny and brutally moving, it’s the most aggressive short story collection I’ve read in a long time, one that forces emotional participation and moral complicity on its readers.
The second book is Rachel Kushner’s second novel, The Flamethrowers, which absolutely thrilled me as both a reader and a writer. Extraordinarily ambitious and well-shaped, I found it one of the biggest reading experiences I’d had all year, the kind of enlarged experience that seems rarer and rarer in contemporary novels. My admiration for The Flamethrowers also sent me back to Kushner’s Telex from Cuba, which I hadn’t read before but which now seems like a formal and stylistic prototype for The Flamethrowers, in addition to being an excellent novel on its own. I hope Kushner keeps pushing her form and her style forward so powerfully between books — I can’t wait to read her next novel to see where she takes us next.
Some books published in years past that were an important part of my 2013: Eat the Document by Dana Spiotta. Kind One by Laird Hunt. Speedboat by Renata Adler. The Complete Tales trilogy by Kate Bernheimer. Light Years by James Salter. Jagannath by Karin Tidbeck.
Some books I loved in 2013 but that won’t be released until 2014: The Last Days of California by Mary Miller. Preparing the Ghost by Matthew Gavin Frank. Praying Drunk by Kyle Minor. Annihilation by Jeff VanderMeer.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
I read a lot of great books this year, including George Saunders’s Tenth of December, Rachel Kushner’s The Flamethrowers, Renata Adler’s Speedboat, and Shirley Jackson’s Hangsaman. And I reread three of my favorite Alice Munro collections: The Beggar Maid, Open Secrets, and The Love of a Good Woman. (She’s my favorite living writer, so I was thrilled when she won the Nobel Prize). But it was Karl Ove Knausgaard’s autobiographical My Struggle (translated from the Norwegian by Don Bartlett) that most consoled me.
My father used to say that my mother had “no sense of mortality.” When my mother regaled us with stories of jumping onto moving trains in Kenya, say, or being shot at in Sudan, he just shook his head. “No sense of mortality.” The irony is that it was my mother, who’d spent her life oblivious of death, who died of cancer at the age of 60. My father, now 78, continues to ruminate about mortality. And I am clearly his child: I’ve always spent a lot of time thinking about death. My paternal grandfather died in our house when I was 10. My grandmother died there nine years later, and then, when I was 31, my mother died there. I actually felt the warmth go out of my mother’s body while she turned into a corpse.
I bring up this morbid history only because it may explain why Knausgaard’s My Struggle — a book defined by its sense of mortality — resonates so much with me. Book 1 is narrated by the 39-year-old Knausgaard, and I am 39 now. (Generation X will recognize themselves here: Knausgaard may be Norwegian, but he grew up on the same pop culture as a lot of his contemporaries in the States.) As a writer facing her mortality, how could I resist a novel about a writer facing his mortality?
Reading Book 1 of My Struggle proved to be one of those serendipitous experiences: the right book at exactly the right time in my life. A few months ago, my father sold the house in which my sisters and I grew up. And this fall, we had to clear out the place, deciding what to keep, what to donate, what to sell. The process was daunting because the house was crammed with stuff, collected by my mother, father, and both sets of grandparents. We were burdened by history, and eager to get rid of things, but it was emotionally draining to watch our childhood get priced for an estate sale. I felt like we were saying good-bye to our mother all over again. And while my siblings and I were clearing out our father’s house, I was reading a book about adult siblings cleaning their father’s house.
In the first book, Karl Ove and his brother, Yngve, go home to Kristiansand to the house where their father recently drank himself to death. The house is in a terrible state when they arrive: it reeks of urine, there is excrement smeared on the sofa, and the floors are littered with empty bottles. While describing the downstairs bathroom, a place that scared him as a child because it seemed haunted, Knausgaard writes:
This particular evening, however, my unease with it rose again because my grandfather had collapsed here and because Dad had died upstairs in the living room yesterday, so the deadness of these non-beings combined with the deadness of the two of them, of my father and his father.
So how could I keep this feeling at arm’s length?
Oh, all I had to do was clean. Scour and scrub and rub and wipe. See how each tile became clean and shiny. Imagine that all that had been destroyed here would be restored.
The Knausgaard brothers get to work cleaning the whole house. They are not daunted by smeared excrement or rotting food. It’s easier to confront shit, with its stench of life, than the abstractly terrifying “deadness.” And as a writer, Knausgaard hopes to leave more than shit behind when he dies: he wants to write something great before his time runs out. And so the thorough cleaning — so vividly rendered, in every mundane detail — is not just an attempt to grapple with grief. Knausgaard is trying to restore not only his grandmother’s house, but his own legacy. As James Wood put it in The New Yorker, “By the time [the book] is over, we have cleaned that house with these brothers; the experience is extraordinarily vivid and visceral and moving.”
The efficient way that Knausgaard and his brother tackle the cleaning struck me as very Norwegian. My family has enough Norwegian friends for me to conclude that when you have a tough job, you need a Norwegian man to do it. In fact, a Norwegian friend helped us with all the heavy lifting as we packed up our family house. My sisters and I couldn’t have finished the monumental task without him. But Knausgaard’s sense of mortality — and his exhaustive cataloguing of it — is universal, and the book is compulsively readable. Knausgaard’s consciousness is so lucid on the page that his book feels fully inhabited and alive (no “deadness”). Yet we never forget that this is a text, aware of itself not just as a novel, but as a bid for its author’s literary immortality.
 I also recommend Zadie Smith’s recent essay, “Man vs. Corpse,” in The New York Review of Books.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
I am not the first to say this, but let me say this nonetheless: Thank God for the NYRB series of reissued books. This year, I was blown away by the gnomic brilliance of Speedboat by Renata Adler, which reminded me of Nathanael West, whom I then re-read and re-loved all over again, which got me into a Stanley Elkin kind of mood, so hello to The Dick Gibson Show and its sneaky joy with that particular brand of American language, and speaking of language, the opening of The Flamethrowers by Rachel Kushner was like a fever dream of delight, so after that I had to dip back into Pafko at the Wall by Don DeLillo, the standard bearer of sustained openings, after which I wisely — and in some cases unwisely — read the first book of My Struggle by Karl Ove Knausgaard and I fear for its minute infections, unlike Stoner by John Williams, downed a month later, which is such a quiet yet profound thrill in its distillation of a nothing special life that it seems inimitable and totally beyond me, like William Maxwell’s So Long, See You Tomorrow, which I should read again, maybe next year — oh, and P.S. I watched my 11-year-old son take in ‘Salem’s Lot by Stephen King, pure delight, and my 10-year-old daughter puts in her vote for Wonder by R.J. Palacio.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for August.
The Pioneer Detectives
Billy Lynn’s Long Halftime Walk
Stand on Zanzibar
The Orphan Master’s Son
Tao Lin’s Taipei remains in our top spot. (For more on the book’s success in our Top Ten, take a look at my commentary on June’s list.) Meanwhile, our Millions Original The Pioneer Detectives by Konstantin Kakaes surges into the second spot and continues to win rave reviews from readers. Billy Lynn’s Long Halftime Walk by Ben Fountain was also a mover, landing in the third spot as it nears graduation to our illustrious Hall of Fame.
Pessl bumps Vampires in the Lemon Grove by Karen Russell from the Top Ten (at least for now).
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for July.
Stand on Zanzibar
The Orphan Master’s Son
Billy Lynn’s Long Halftime Walk
Vampires in the Lemon Grove
The Pioneer Detectives
Big changes on our list this month as four titles graduate to our illustrious Hall of Fame. Let’s run through new Hall of Famers quickly:
Epic Fail: Bad Art, Viral Fame, and the History of the Worst Thing Ever: As many of our readers are already aware, staff writer Mark O’Connell’s shorter-format ebook was The Millions’ first foray into ebook publishing. We have been thrilled by the great reader response. And, if you haven’t had a chance to check it out yet, why not mark its graduation to the Hall of Fame by checking out this special, little book (for only $1.99!)
Tenth of December: 2013 opened with the book world agog over George Saunders’ newest collection. He famously graced the cover of the New York Times Magazine under the banner “Greatest Human Ever in the History of Ever” (or something like that) and the book figured very prominently in our first-half preview. Unsurprisingly, all the hype helped drive a lot of sales. It also led our own Elizabeth Minkel to reflect on Saunders and the question of greatness in a thoughtful essay.
Building Stories: Chris Ware has reached the point in his career (legions of fans, museum shows) where he can do whatever he wants. And what he wanted to do was produce a “book” the likes of which we hadn’t seen before, a box of scattered narratives to be delved into any which way the reader wanted, all shot through with Ware’s signature style and melancholy. Ware appeared in our Year in Reading last year with an unlikely selection. Mark O’Connell called Building Stories “a rare gift.”
Arcadia: Lauren Groff is another Millions favorite, though it took a bit longer for her book, first released in March 2012, to make our list. Our own Edan Lepucki interviewed Groff soon after the book’s release, and Groff later participated in our Year in Reading, discussing her “year of savage, brilliant, and vastly underrated female writers.”
That leaves room, then, for four debuts on this month’s list:
The Interestings: Though Meg Wolitzer is already a well-known, bestselling author, her big novel seems to be on the slow burn trajectory to breakout status, with the word-of-mouth wave (at least in the part of the world that I frequent), building month by month. That word of mouth was perhaps helped along the way by Edan Lepucki’s rollicking review, in which, among other things, she posited what it means for a “big literary book” to be written by someone other than a “big literary man.”
The Pioneer Detectives: As one Millions Original graduates from our list, another arrives. The Pioneer Detectives, which debuted in the second half of July, is an ambitious work of page-turning reportage, the kind of journalism we all crave but that can often be hard to find. Filled with brilliant insights into how scientific discoveries are made and expertly edited by our own Garth Hallberg, The Pioneer Detectives is a bargain at $2.99. We hope you’ll pick it up.
Fox 8: And as one George Saunders work graduates from our list, another arrives. This one is an uncollected story, sold as an e-single.
It’s turning into Speedboat Week here, so why not spend the weekend with some of Renata Adler’s most renowned nonfiction? Her controversial reassessment of Pauline Kael (featuring “A Limitless Capacity to Inquire,” one of the best found poems you’ll ever read) is at the NYRB, and her deep dive into l’affaire Lewinski can be found at the L.A. Times. Interestingly, as Sarah Weinman points out, Adler’s 2001 book about the Bilderberg Conferences still hasn’t seen the light of day. (“Who suppresses manuscripts? We do!”)
At long last Renata Adler’s re-released Speedboat is out from NYRB Classics. The book’s attracted quite a bit of (deserved) pre-release hype. Also out today are a pair of books covered in our Great 2013 Book Preview: Vladimir Nabokov’s The Tragedy of Mr. Morn (no relation to yours truly) and Aleksandar Hemon’s The Book of My Lives. In three days you can get your hands on Kristopher Jansma’s debut novel The Unchangeable Spots of Leopards.
Gary Indiana posits that “no current literary label appealingly describes the kind of narratives [Renata Adler’s] Speedboat and Pitch Dark are.” This might be true. However in the name of moving forward with discussion, perhaps we can all go with Matthew Spektor’s summation of Adler’s debut novel: “if it’s ‘like’ anything at all, a steeplechase of [dazzling] hurdles could be it.”
2013 is looking very fruitful, readers. While last year offered new work from Zadie Smith, Junot Díaz, Michael Chabon, and many more, this year we’ll get our hands on new George Saunders, Karen Russell, Jamaica Kincaid, Anne Carson, Colum McCann, Aleksandar Hemon and even Vladimir Nabokov and J.R.R. Tolkien, as well as, beyond the horizon of summer, new Paul Harding, Jonathan Lethem, and Thomas Pynchon. We’ll also see an impressive array of anticipated work in translation from the likes of Alejandro Zambra, Ma Jian, László Krasznahorkai, Javier Marías and Karl Ove Knausgaard, among others. But these just offer the merest hint of the literary plenty that 2013 is poised to deliver. A bounty that we have tried to tame in another of our big book previews.
The list that follows isn’t exhaustive – no book preview could be – but, at 7,900 words strong and encompassing 79 titles, this is the only 2013 book preview you will ever need.
January or Already Out:
Tenth of December by George Saunders: Tenth of December is George Saunders at his hilarious, heartbreaking best, excavating modern American life in a way that only he can. In “Home,” a soldier returns from the wars in Afghanistan and Iraq to a deteriorating family situation. In “Victory Lap,” a botched abduction is told from three very different perspectives. Tenth of December has already prompted an all-out rave profile from the New York Times. And for those George Saunders super fans out there, yes, there is a story set at a theme park. (Patrick)
Going Clear: Scientology, Hollywood, and the Prison of Belief by Lawrence Wright: While Wright was working on his 25,000-word take-down of the Church of Scientology for The New Yorker (where he is a staff writer), a spokesman for the organization showed up with four lawyers and 47 binders of documentation. “I suppose the idea was to drown me in information,” Wright recently told the Times, “but it was like trying to pour water on a fish.” The investigation has blossomed into a full-length book that’s shaping up to be as controversial as anything that crosses Scientology’s path: Wright has been receiving numerous legal missives from the church itself and the celebrities he scrutinizes, and his British publisher has just backed out—though they claim they haven’t been directly threatened by anyone. (Elizabeth)
Umbrella by Will Self: Shortly before Umbrella came out in the UK last September, Will Self published an essay in The Guardian about how he’d gone modernist. “As I’ve grown older, and realised that there aren’t that many books left for me to write, so I’ve become determined that they should be the fictive equivalent of ripping the damn corset off altogether and chucking it on the fire.” Umbrella is the result of Self’s surge in ambition, and it won him some of the best reviews of his career, as well as his first Booker shortlisting. He lost out to Hilary Mantel in the end, but he won the moral victory in the group photo round by doing this. (Mark)
Revenge by Yoko Ogawa: English-reading fans of the prolific and much-lauded Yoko Ogawa rejoice at the advent of Revenge, a set of eleven stories translated from Japanese by Stephen Snyder. The stories, like Ogawa’s other novels (among them The Diving Pool, The Housekeeper and the Professor, and Hotel Iris) are purportedly elegant and creepy. (Lydia)
Ways of Going Home by Alejandro Zambra: Drop the phrase “Chilean novelist” and literary minds automatically flock to Bolaño. However, Alejandro Zambra is another name those words should soon conjure if they don’t already. Zambra was named one of Granta’s Best Young Spanish Language Novelists in 2010, and his soon-to-be-released third novel, Ways of Going Home, just won a PEN translation award. The novel has dual narratives: a child’s perspective in Pinochet’s Chile and an author’s meditation on the struggle of writing. In Zambra’s own words (from our 2011 interview): “It’s a book about memory, about parents, about Chile. It’s about the 80s, about the years when we children were secondary characters in the literature of our parents. It’s about the dictatorship, as well, I guess. And about literature, intimacy, the construction of intimacy.” (Anne)
Scenes from Early Life by Philip Hensher: In his eighth novel, Scenes from Early Life, Philip Hensher “shows for the first time what [he] has largely concealed in the past: his heart,” writes Amanda Craig in The Independent. Written in the form of a memoir, narrated in the voice of Hensher’s real-life husband Zaved Mahmood, the novel invites comparison with Gertrude Stein’s The Autobiography of Alice B. Toklas. Described as a hybrid of fiction, history, and biography—and as both “clever” and “loving”—the inventive project here is distinctly intriguing. (Sonya)
Exodus by Lars Iyer: Exodus, which follows Spurious and Dogma, is the eminently satisfying and unexpectedly moving final installment in a truly original trilogy about two wandering British intellectuals—Lars and W., not to be confused with Lars Iyer and his real friend W., whom he’s been quoting for years on his blog—and their endless search for meaning in a random universe, for true originality of thought, for a leader, for better gin. (Emily M.)
Vampires in the Lemon Grove by Karen Russell: Russell’s short stories are marked by superb follow-through: many succeed due to her iron-clad commitment to often fantastical conceits, like the title story of her first collection, St. Lucy’s Home for Girls Raised by Wolves, which draws a powerful metaphor for adolescent girlhood in an actual orphanage for girls raised by wolves. Last year saw her debut novel, Swamplandia!, nominated for the Pulitzer prize; this year, her second short story collection—and another batch of fantastical conceits—finally arrives. Just imagine the characters in this title story, trying to quell their bloodlust, sinking their fangs into lemons under the Italian sun. (Elizabeth)
My Brother’s Book by Maurice Sendak: When Maurice Sendak died last May he left one, final, unpublished book behind. It is, according to a starred review in Publisher’s Weekly, a beautiful, intensely serious elegy for Sendak’s beloved older brother Jack, who died in 1995. The story, illustrated in watercolors, has Guy (a stand-in for Sendak), journeying down the gullet of a massive polar bear named Death- “Diving through time so vast—sweeping past paradise”- into an underworld where he and Jack have one last reunion. “To read this intensely private work,” writes Publisher’s Weekly, “is to look over the artist’s shoulder as he crafts his own afterworld, a place where he lies in silent embrace with those he loves forever.” (Kevin)
Benediction by Kent Haruf: Kent Haruf’s previous novels, which include Plainsong and Eventide, have all taken place in the fictional Colorado town of Holt, which is based on the real life city of Yuma. His newest work is no exception. It is a network of family dramas in a small town, most of which revolve around loss or impending loss, strained relationships, and efforts to grapple, together, with the pain the characters face in their own lives and feel in the lives of those around them. (Kevin)
See Now Then by Jamaica Kincaid: For See Now Then, her first novel in a decade, Jamaica Kincaid settles into a small town in Vermont, where she dissects the past, present and future of the crumbling marriage of Mrs. Sweet, mother of two children named Heracles and Persephone, a woman whose composer husband leaves her for a younger musician. Kincaid is known as a writer who can see clean through the surface of things – and people – and this novel assures us that “Mrs. Sweet could see Mrs. Sweet very well.” (Bill)
The Bridge Over the Neroch: And Other Works by Leonid Tsypkin: Like Chekhov, Tsypkin was a doctor by trade. In fact, that was all most people knew him as during his lifetime. At the time of Tsypkin’s death, his novel Summer in Baden-Baden, one of the most beautiful to come out of the Soviet Era, remained unpublished, trapped in a drawer in Moscow. Now New Directions brings us the “remaining writings”: a novella and several short stories. (Garth)
How Literature Saved My Life by David Shields: Like his 2008 book The Thing About Life is that One Day You’ll Be Dead, which was nearly as much a biology text book as it was a memoir, How Literature Saved My Life obstinately evades genre definitions. It takes the form of numerous short essays and fragments of oblique meditation on life and literature; and, as you’d expect from the author of Reality Hunger, it’s heavily textured with quotation. Topics include Shields’s identification with such diverse fellows as Ben Lerner (his “aesthetic spawn”) and George W. Bush, the fundamental meaninglessness of life, and the continued decline of realist narrative fiction. (Mark)
The City of Devi by Manil Suri: Manil Suri is perhaps best known for his first novel The Death of Vishnu, which was long-listed for the Booker and shortlisted for the 2002 PEN/Faulkner Award. The City of Devi, his third novel, takes place in a Mumbai emptied out under threat of nuclear attack. Sarita, a 33-year-old statistician, stays in the city to find her beloved husband, who has mysteriously vanished. She ends up teaming up with a gay Muslim man named Jaz, and together they travel across this dangerous and absurd and magical landscape. According to Keran Desai, this is Suri’s “bravest and most passionate book,” which combines “the thrill of Bollywood with the pull of a thriller.” (Edan)
Breakfast at Tiffany’s & Other Voices, Other Rooms: Two Novels by Truman Capote: Holly Golightly is turning 55, and to mark her entry into late middle age, the Modern Library is reissuing Capote’s dazzling 1958 novella that made her and Tiffany’s Fifth Avenue showroom into American icons. The short novel is paired with Capote’s (also brief) debut novel Other Voices, Other Rooms, a strange and haunting semi-fictional evocation of Capote’s hauntingly strange Southern childhood. Modern Library will also reissue Capote’s Complete Stories in March. (Michael)
Nothing Gold Can Stay by Ron Rash: Ron Rash has earned a spot as one of the top fiction writers describing life in Appalachia with his previous books, The Cove, Serena, and One Foot in Eden. His newest collection of short stories tells of two drug-addicted friends stealing their former boss’s war trophies, of a prisoner on a chain-gang trying to convince a farmer’s young wife to help him escape, and of an eerie diving expedition to retrieve the body of a girl who drowned beneath a waterfall. (Kevin)
The Love Song of Jonny Valentine by Teddy Wayne: If you have ever wondered what, if anything, is going on inside the head of one of those kiddie pop stars who seem animatronically designed to make the tween girls swoon, then Jonny Valentine may be for you. Winner of a Whiting Writers’ Award for his first novel Kapitoil, Wayne has built a reputation for offbeat wit in his humor columns for Vanity Fair and McSweeney’s, as well as “Shouts & Murmurs” pieces in The New Yorker. Here, he channels the voice of a lonely eleven-year-old pop megastar in a rollicking satire of America’s obsession with fame and pop culture. (Michael)
Give Me Everything You Have: On Being Stalked by James Lasdun: English poet, novelist and short story writer James Lasdun’s new book is a short memoir about a long and harrowing experience at the hands of a former student who set out to destroy him and through online accusations of sexual harassment and theft. J.M. Coetzee has called it “a reminder, as if any were needed, of how easily, since the arrival of the Internet, our peace can be troubled and our good name besmirched.” (Mark)
Fight Song by Joshua Mohr: Joshua Mohr’s previous novels—Some Things That Meant The World To Me, Termite Parade, and Damascus—formed a loose trilogy, each book standing alone but all three concerned with a mildly overlapping cast of drifting and marginal characters in San Francisco. In Fight Song, Mohr is on to new territory, “way out in a puzzling universe known as the suburbs,” where a middle-aged man embarks on a quest to find happiness, to reconnect with his distant and distracted family, and to reverse a long slide into purposelessness. (Emily M.)
Middle C by William H. Gass: Not many writers are still at the height of their powers at age 88. Hell, not many writers are still writing at 88. (We’re looking at you, Philip Roth.) But William H. Gass has always been an outlier, pursuing his own vision on his own timetable. His last novel (and magnum opus) The Tunnel took thirty years to write. Middle C, comparatively svelte at 400-odd pages, took a mere fifteen, and may be his most accessible fiction since 1968’s In The Heart of the Heart of the Country. It’s a character piece, concerning one Joseph Skizzen, a serial (and hapless) C.V. embellisher and connoisseur of more serious forms of infamy. The plot, such as it is, follows him from war-torn Europe, where he loses his father, to a career as a music professor in the Midwest. Not much happens – does it ever, in Gass? – but, sentence by sentence, you won’t read a more beautifully composed or stimulating novel this year. Or possibly any other. (Garth)
The Burgess Boys by Elizabeth Strout: Maine native Elizabeth Strout won the Pulitzer Prize for fiction in 2009 for Olive Kitteridge, her novel in the form of linked stories. Strout’s fourth novel, The Burgess Boys, is the story of the brothers Jim and Bob Burgess, who are haunted by the freak accident that killed their father when they were children in Maine. They have since fled to Brooklyn, but they’re summoned home by their sister Susan, who needs their help dealing with her troubled teenage son. Once they’re back home, long-buried tensions resurface that will change the Burgess boys forever. (Bill)
The Fun Parts by Sam Lipsyte: Sam Lipsyte returns to short stories with his new book The Fun Parts. The collection contains some fiction previously published in The Paris Review, Playboy, and The New Yorker, including his excellent “The Climber Room,” which ends with a bizarre twist. Several of the stories, including “The Dungeon Master” and “Snacks,” explore the world from the perspectives of misfit teens. As with all of Lipstye’s stories, expect his absurdist humor and a just a touch of perversion. Get excited. (Patrick)
Red Doc> by Anne Carson: It’s been more than a decade since Carson, a poet and classicist, published The Autobiography of Red, a dazzling and powerful poetic novel that reinvents the myth of Herakles and Greyon: hero and monster reworked into a story of violently deep unrequited love. Red Doc> promises to be a sequel of sorts, with “a very different style,” “changed names,” and the spare preview is incredibly intriguing: “To live past the end of your myth is a perilous thing.” (Elizabeth)
A Thousand Pardons by Jonathan Dee: Author of The Privileges, arguably the best novel about haute New York in the boom years of the past decade, Dee returns with another tale of family life in the upper reaches of New York society, this time post-recession. When her husband loses his job as a partner at a white-shoe law firm, Helen Armstead finds a job at a PR firm, where she discovers she has an almost magical, and definitely lucrative, gift: she can convince powerful men to admit their mistakes. But this is a novel, so her professional success does not necessarily translate into success in her personal life. (Michael)
Speedboat by Renata Adler: This novel, first published in 1976, brings to mind the old saw about the Velvet Underground. Not everybody read it, but everybody who did went on to write a novel of his or her own. Adler is primarily known for her acerbic New Yorker fact pieces, but, like her omnicompetent contemporary Joan Didion, she is also a terrific fiction writer. This fragmented look at the life of an Adler-like journalist may be her Play It As It Lays. Writers still urgently press out-of-print copies on each other in big-city bars near last call. Now it’s getting the NYRB Classics treatment. (Garth)
Mary Coin by Marisa Silver: Following the success of her novel The God of War, The New Yorker favorite Marisa Silver returns with Mary Coin, a novel inspired by Dorothea Lange’s iconic “Migrant Mother” photo. The book follows three characters: Mary, the mother in the photograph; Vera Dare, the photographer; and Walker Dodge, a contemporary-era professor of cultural history. Ben Fountain says it’s “quite simply one of the best books I’ve read in years,” and Meghan O’Rourke calls it “an extraordinarily wise and compassionate novel.” (Edan)
How to Get Filthy Rich in Rising Asia by Mohsin Hamid: Hamid’s previous novels were The Reluctant Fundamentalist and Moth Smoke. His third borrows the structure of self-help books (chapter titles include “Avoid Idealists”, “Don’t Fall in Love”, and “Work For Yourself”) to follow a nameless man’s ascent from a childhood of rural poverty to success as a corporate tycoon in a metropolis in “rising Asia.” (Emily M.)
The Tragedy of Mr. Morn Vladimir Nabokov: I furrowed my brow when I saw Nabokov’s name on the preview list, imagining a horde of publishers rooting through his undies for hitherto undiscovered index cards. But this is a very old play, in the scheme of Nabokov’s life–written in 1923, published in Russian in 2008, published in English this spring. The play is about royalty, revolutionaries, allegories; “On the page,” writes Lesley Chamberlain for the TLS, ” the entire text creeps metonymically sideways. Its author weaves language into a tissue of reality hinting at some veiled, mysteriously interconnected, static truth beyond.” I’m not sure what that means, but I think I like it. (Lydia)
The Book of My Lives by Aleksandar Hemon: Sarajevo-born, Chicago-based author Aleksandar Hemon—winner of the MacArthur “genius grant” and editor of Dalkey Archive’s stellar Best European Fiction series—abandons fiction for essay and memoir in his fifth book, The Book of My Lives. The title alludes to and, as far as we can tell, calls upon Hemon’s New Yorker essay “The Book of My Life,” about his former literature professor turned war criminal, Nikola Koljevic. Just as Hemon’s novel Lazarus Project straddled the fiction/nonfiction divide, The Book of My Lives isn’t strictly memoir, pushing boundaries of genre now from the nonfiction side. (Anne)
The Unchangeable Spots of Leopards by Kristopher Jansma: Kristopher Jansma, academic and Electric Literature blogger, drawer of daring and controversial parallels on the digital pages of our own august publication (Is The Killing like or not like Kafka?), publishes his debut novel on the first day of spring. The novel features young writers, young love, artistic competition, girls, jaunts. I predict that at least one blurber will reference This Side of Paradise. (Lydia)
A Map of Tulsa by Benjamin Lytal: In the 2003, “a young Oklahoman who work[ed] in New York” stole the eleventh issue of McSweeney’s from the likes of Joyce Carol Oates and T.C. Boyle with a story – well, scenario, really – called “Weena.” Maybe I only loved it so much because I, too, was from outlands like those it so lovingly described. Still, I’ve been keeping an eye out for that young Oklahoman, Benjamin Lytal, ever since. I assume that A Map of Tulsa, too, is about coming of age in Tulsa, a city that looks from the window of a passing car at night “like a mournful spaceship.” (Garth)
In Partial Disgrace by Charles Newman: Newman, the editor who put TriQuarterly on the map in the 1960s, was once spoken of in the same breath with the great dark humorists of postwar American writing. Even before his death, in 2006, his novels were falling out of print and his reputation fading. If there is any justice in the republic of letters (which is a big if), the belated publication of his incomplete masterwork, a sprawling trilogy set in a fictional Mitteleuropean nation to rival Musil’s Kakania, should put him permanently back on the map. (Garth)
The Childhood of Jesus by J.M. Coetzee: J.M. Coetzee, Nobel laureate and two-time Booker Prize winner, continues to explore the plight of the outsider in his new allegorical novel, The Childhood of Jesus. It’s the story of an unnamed man and boy who cross an ocean to a strange land where, bereft of memories, they are assigned the names Simon and David before they set out to find the boy’s mother. They succeed, apparently, only to run afoul of the authorities, which forces them to flee by car through the mountains. One early reader has called the novel “profound and continually surprising.” (Bill)
Life After Life by Kate Atkinson: The beloved author of Case Histories, Behind the Scenes at the Museum, and Started Early, Took My Dog (among others) is out with the stor(ies) of Ursula Todd. In 1910, Todd is born during a snowstorm in England, but from then on there are parallel stories — one in which she dies at first breath, and one in which she lives through the tumultuous 20th century. As the lives of Ursula Todd continue to multiply, Atkinson asks what, then, is the best way to live, if one has multiple chances? (Janet)
All That Is by James Salter: Upon return from service as a naval officer in Okinawa, Philip Bowman becomes a book editor during the “golden age” of publishing. The publisher’s blurb promises “Salter’s signature economy of prose” and a story about the “dazzling, sometimes devastating labyrinth of love and ambition.” In our interview with Salter in September, he told us it was “an intimate story about a life in New York publishing,” some 10 years in the making. From John Irving: “A beautiful novel, with sufficient love, heartbreak, vengeance, identity confusion, longing, and euphoria of language to have satisfied Shakespeare.” Tim O’Brien: “Salter’s vivid, lucid prose does exquisite justice to his subject—the relentless struggle to make good on our own humanity.” April will not come soon enough. (Sonya)
The Woman Upstairs by Claire Messud: The Emperor’s Children, Messud’s bestselling novel from 2006, did as much as anyone has to bridge the gap between the social novel and the novel of consciousness her husband, James Wood, has championed in his criticism. Now, Messud returns with the story of a Boston-area woman who becomes entangled with a Lebanese-Italian family that moves in nearby. Expect, among other things, insanely fine writing. (Garth)
The Interestings by Meg Wolitzer: In a review of her most recent book, 2011’s The Uncoupling, the San Francisco Chronicle declared that, “At this point in her career, Meg Wolitzer deserves to be a household name.” Wolitzer’s tenth novel begins at a summer camp for the arts in 1974, and follows a group of friends into the adulthood. They’re all talented, but talent isn’t enough, and as they grow up, their paths split: some are forced to exchange their childhood dreams for more conventional lives, while others find great success—and, as one might imagine, tensions arise from these differences. (Elizabeth)
The Flamethrowers by Rachel Kushner: Rachel Kushner’s first novel, Telex from Cuba, was lauded for its evocative descriptions and its power of suspense. Kushner will surely call on both talents for The Flamethrowers, as her heroine first becomes immersed in a late ‘70s New York downtown scene peopled by artists and squatters, and then follows a motorcycle baron to Italy during the height of the Autonomist movement. Images are central to Kushner’s creative process: a ducati, a woman in war paint, and a F.T. Marinetti lookalike riding atop a cycle with a bullet-shaped sidecar were talismans (among others) for writing this book. (Anne)
Harvard Square by André Aciman: In 1970s Cambridge, Massachusetts, a young Harvard graduate student from Egypt wants to be the consummate American, fully assimilated and ensconced in the ivory tower as a literature professor. Then he meets Kalaj — an Arab cab driver who denigrates American mass culture and captivates the student with his seedy, adventurous life. Harvard Square tells the story of this young student’s dilemma, caught between the lofty world of Harvard academia and the magnetic company of his new friend. (Janet)
Woke Up Lonely by Fiona Maazel: Woke Up Lonely is Fiona Maazel’s first novel since being named a “5 Under 35” choice by the National Book Foundation. The book focuses on Thurlow Dan, the founder of the Helix, a cult that promises to cure loneliness. Ironically, Thurlow himself is profoundly lonely and longing for his ex-wife, Esme. The book has been compared to the work of Sam Lipsyte and Karen Russell, and if there’s one phrase that continually appears in early reviews and press materials, it is “action packed.” (Patrick)
The Dark Road by Ma Jian: Ma Jian, whose books and person are both banned from China, published his third novel The Dark Road in June (Yunchen Publishing House, Taipei); the English translation will be released by Penguin. The story: a couple determined to give birth to a second child in order to carry on the family line flee their village and the family planning crackdown. At Sampsonia Way, Tienchi Martin-Liao described it as “an absurd story” that uses “magical realism to describe the perverse reality in China.” The publisher describes it as “a haunting and indelible portrait of the tragedies befalling women and families at the hands of China’s one-child policy and of the human spirit’s capacity to endure even the most brutal cruelty.” Martin-Liao tells us that the book’s title, Yin Zhi Dao, also means vagina, or place of life and origin. (Sonya)
The Pink Hotel by Anna Stothard: Stothard’s second novel (after Isabel and Rocco) follows an unnamed 17-year-old narrator as she flies from London to L.A. for the funeral of Lily, a mother she never knew, the proprietess of The Pink Hotel. While the hotel’s residents throw a rave in Lily’s honor, her daughter steals a suitcase of Lily’s photos, letters, and clothes. These mementos set her on a journey around L.A., returning letters to their writers and photos to their subjects and uncovering the secrets of her mother’s life. Longlisted for the 2012 Orange Prize, The Pink Hotel has been optioned for production by True Blood’s Stephen Moyer and Anna Paquin. (Janet)
Our Man in Iraq by Robert Perišic: Perišic is one of the leading new writers to have emerged from Croatia after the fall of the Iron Curtain. In this, his first novel to appear stateside, he offers the funny and absurd tale of two cousins from Zagreb who get caught up in the American Invasion of Iraq, circa 2003. Perišic speaks English, and assisted with the translation, so his voice should come through intact, and a blurb from Jonathan Franzen never hurts. (Garth)
And the Mountains Echoed by Khaled Hosseini: Few details have been released so far about the third novel from international publishing juggernaut Hosseini (The Kite Runner, A Thousand Splendid Suns). In a statement posted to Penguin’s website, Hosseini explains, “My new novel is a multi-generational family story as well, this time revolving around brothers and sisters, and the ways in which they love, wound, betray, honor, and sacrifice for each other.” (Kevin)
My Struggle: Book Two: A Man in Love by Karl Ove Knausgaard: The first part of Knausgaard’s six-part behemoth was the single most stirring novel I read in 2012. Or is the word memoir? Anyway, this year sees the publication of Part Two, which apparently shifts the emphasis from Knausgaard’s childhood and the death of his father to his romantic foibles as an adult. But form trumps content in this book, and I’d read 400 pages of Knausgaard dilating on trips to the dentist. There’s still time to run out and catch up on Part One before May rolls around. I can’t imagine many readers who finish it won’t want to keep going. (Garth)
You Are One of Them by Elliott Holt: You Are One of Them is Pushcart Prize-winner Elliott Holt’s debut novel. You might be forgiven for thinking she’d already published a few books, as Holt has been a fixture of the literary Twittersphere for years. Holt’s debut is a literary suspense novel spanning years, as a young woman, raised in politically charged Washington D.C. of the 1980s, goes to Moscow to investigate the decades-old death of her childhood friend. (Patrick)
The Fall of Arthur by J.R.R. Tolkien: In a letter to his American publisher two decades after abandoning The Fall of Arthur, Tolkien expressed regret that he’d left the epic poem unfinished (some suggest it was cast aside as he focused on writing The Hobbit, published in 1937). Nearly eighty years later, the work has been edited and annotated by his son, Christopher, who has written three companion essays that explore the text and his father’s use of Arthurian legend in Middle Earth. Tolkien fans will be grateful for the uncharted territory but unused to the book’s bulk, or lack thereof: in the American edition, poem, notes, and essays clock in just shy of 200 pages long. (Elizabeth)
Americanah by Chimamanda Ngozi Adichie: The author of the critically acclaimed novels Half of a Yellow Sun and Purple Hibiscus, both set in Adichie’s home country of Nigeria, now turns her keen eye to the trials of cultural assimilation for Africans in America and England. In the novel, a young Nigerian couple leave their homeland – she to America for an education, he to a far more unsettled, undocumented life in England. In their separate ways, each confront issues of race and identity they would never have faced in Nigeria, where they eventually reunite. (Michael)
Red Moon by Benjamin Percy: Percy, whose previous books include the novel The Wilding and the story collection Refresh, Refresh, imagines a world wherein werewolves have always lived among us, uneasily tolerated, a hidden but largely controlled menace, required by law to take a transformation-inhibiting drug. He describes his new novel as “a narrative made of equal parts supernatural thriller, love story and political allegory.” (Emily M.)
A Guide to Being Born by Ramona Ausubel: A short story collection that includes the author’s New Yorker debut, “Atria”. If that piece is any indication, the book is more than a bit fabulist – the plot involves a girl who finds herself pregnant and worries she’ll give birth to an animal. The specter of parenthood, as the title suggests, appears in numerous guises, as does the reinvention that marked the protagonists of her novel (the genesis of which she wrote about in our own pages). (Thom)
The Hanging Garden by Patrick White: The last work of Nobel Laureate Patrick White gives his homeland an Elysian feel. At the beginning, we meet two orphans, Eirene Sklavos and Gilbert Horsfall, whose parents both died in separate conflicts early on in the second World War. They escape to a house in suburban Sydney and bond in a lush little garden. As with most things published posthumously, the story is a little bit scattershot, but early reviews out of Oz (and our own take) say the book is worthy of its author. (Thom)
Love Is Power, or Something Like That by A. Igoni Barrett: Barrett’s middle name, Igonibo, means stranger, though he’s no stranger to all things literary: he chronicled his childhood bookishness in our pages last year, and his father is Jamaican-born poet Lindsay Barrett who settled in Nigeria, where the younger Barrett was born and still lives. The streets of Lagos provide the backdrop for his second story collection, Love Is Power, or Something Like That. His first was called From the Cave of Rotten Teeth, and rotting teeth seems to be something of a recurring motif. It’s picked up at least tangentially in this book with “My Smelling Mouth Problem,” a story where the protagonist’s halitosis causes disturbances on a city bus ride. (Anne)
The Unwinding: An Inner History of the New America by George Packer: George Packer reveals the state of affairs in America in his ominously-titled new book, a history told in biographical inspections of its various residents (read about one, a lobbyist, in a truly riveting excerpt in The New Yorker). The bad news, probably, is that American is fucked. The good news, I learned from an interview in The Gunn Oracle, the paper of record at Packer’s high school, is that Packer didn’t become a proper journalist until age 40, which is sort of heartening, and may officially qualify him for Bloom status. (More bad news: no posted vacancies at The Gunn Oracle.) (Lydia)
Pacific by Tom Drury: Drury’s fans will be ecstatic to learn that his new novel focuses once again on the inhabitants of Grouse County, Iowa, where two of his four previous books, The End of Vandalism and Hunts in Dreams, also take place. In this new novel, Tiny Darling’s son Micah travels to L.A. to reunite with his mother who abandoned him years before, while back in the Midwest, a mysterious woman unsettles everyone she meets. The novel tells two parallel tales, plumbing both the comic and tragic of life. Yiyun Li says that Drury is a “rare master of the art of seeing.” This novel is sure to prove that—yet again. (Edan)
Forty-One False Starts: Essays on Artists and Writers by Janet Malcolm: The title of this collection comes from a 1994 New Yorker profile of the artist David Salle, in which Malcolm tried in 41 different ways, without success, to penetrate the carefully constructed shell of an artist who had made a bundle during the go-go 1980s but was terrified that he was already forgotten by the art world, a has-been. Malcolm trains her laser eye on a variety of other subjects, including Edward Weston’s nudes, the German photographer Thomas Struth, Edith Wharton, the Gossip Girl novels, and the false starts on her own autobiography. (Bill)
Transatlantic by Colum McCann: Known for deftly lacing his fiction with historical events – such as the high-wire walk between the twin towers that opened his National Book Award-winning novel, Let the Great World Spin – McCann threads together three very different journeys to Ireland in his new novel, Transatlantic. The first was Frederick Douglass’s trip to denounce slavery in 1845, just as the potato famine was beginning; the second was the first transatlantic flight, in 1919, by Jack Alcock and Arthur Brown; and the third was former U.S. Sen. George Mitchell’s repeated crossings to broker the 1998 Good Friday Agreement. In an interview, McCann said it’s the aftermath of such large historic events that interests him as a novelist: “What happens in the quiet moments? What happens when the plane has landed?” (Bill)
The Hare by César Aira: A recent bit of contrarianism in The New Republic blamed the exhaustive posthumous marketing of Roberto Bolaño for crowding other Latin American writers out of the U.S. marketplace. If anything, it seems to me, it’s the opposite: the success of The Savage Detectives helped publishers realize there was a market for Daniel Sada, Horacio Castellanos Moya, and the fascinating Argentinian César Aira. The past few years have seen seven of Aira’s many novels translated into English. Some of them, like Ghosts, are transcendently good, but none has been a breakout hit. Maybe the reissue of The Hare, which appeared in the U.K. in 1998, will be it. At the very least, it’s the longest Aira to appear in English: a picaresque about a naturalist’s voyage into the Argentinean pampas. (Garth)
Taipei by Tao Lin: Indie darling Tao Lin officially enters the world of big six publishing with his eighth published work, Taipei, an autobiographical novel beginning in 2009 and concerning a few years in the life of a 25-year-old protagonist moving from Taiwan to New York City and Las Vegas. In an Observer interview from 2011, Lin said that the book “contains a marriage, somewhat extreme recreational drug usage, parents, [and] a book tour” – all of which should be familiar subjects to people who’ve followed Lin’s exploits on Twitter, Tumblr and his blog over the past few years. (And especially if you’ve been one of his “interns.”) (Nick)
In the House upon the Dirt between the Lake and the Woods by Matt Bell: Matt Bell’s novel is an exploration of parenthood and marriage, and it carries the premise and the force of myth: a woman who can sing objects into being and a man who longs for fatherhood get married and leave their hectic lives for a quiet homestead by the side of a remote lake. But as pregnancy after pregnancy fails, the wife’s powers take a darker turn—she sings the stars from the sky—and their grief transforms not only their marriage but the world around them. (Emily M.)
His Wife Leaves Him by Stephen Dixon: Stephen Dixon, a writer known for rendering unbearable experiences, has built his 15th novel around a premise that is almost unbearably simple: A man named Martin is thinking about the loss of his wife, Gwen. Dixon’s long and fruitful career includes more than 500 shorts stories, three O. Henry Prizes, two Pushcart Prizes and a pair of nominations for the National Book Award. His Wife Leaves Him, according to its author, “is about a bunch of nouns: love, guilt, sickness, death, remorse, loss, family, matrimony, sex, children, parenting, aging, mistakes, incidents, minutiae, birth, music, jobs, affairs, memory, remembering, reminiscence, forgetting, repression, dreams, reverie, nightmares, meeting, dating, conceiving, imagining, delaying, loving.” (Bill)
Seiobo There Below by László Krasznahorkai: The novels of the great Hungarian writer László Krasznahorkai have recently begun to break through with American audiences. Thus far, however, we’ve only glimpsed one half of his oeuvre: the one that deals (darkly, complexly) with postwar Europe. Krasznahorkai has also long taken an interest in East Asia, where he’s spent time in residence. Seiobo There Below, one of several novels drawing on this experience, shows a Japanese goddess visiting disparate places and times, in search of beauty. (Garth)
Carnival by Rawi Hage: True to its title, Carnival – which takes place in a city loosely based on the author’s hometown of Montreal – takes the reader on a tour of a place well-populated with odd and eccentric characters. The protagonist, Fly, is a cab driver with a penchant for binge reading. We learn that he chose his name to draw a contrast with a group called the Spiders. The Spiders are a loose collection of predatory cab drivers, who choose to wait for their customers rather than to hunt them on the streets. Fly himself, too, is no slouch when it comes to weirdness – he says that his mother gave birth to him in front of an audience of seals. (Thom)
Cannonball by Joseph McElroy: Of the American experimental novelists of the 1960s and 1970s, Joseph McElroy may be the most idiosyncratic. He specializes in what you might call information architecture, overloading his narratives with nonfictional data while strategically withholding the kinds of exposition that are conventional in fiction. The results speak for themselves: moments of startling resonance, power, mystery…and topicality. His work has previously tackled the Pinochet regime, artificial intelligence, and, in his terrific recent story collection, Night Soul, terrorism. Now he turns his attention to the Iraq War. (Garth)
On the Floor by Aifric Campbell: Banker-turned-novelist Aifric Campbell takes on the testosterone of the eighties. At Morgan Stanley, she saw firsthand the excesses of the era, which drove young female analysts to develop “contempt” for other women. As a product of that environment, her main character, Geri, feels like a “skirt among men.” She lacquers her ambitions with conspicuously feminine gestures and modes of dress. In an interview with the Guardian, Campbell pointed out that she used to race greyhounds, which gave her a “certain logic” that helped her in banking and writing. (Thom)
Love, Dishonor, Marry, Die, Cherish, Perish by David Rakoff: Rakoff passed away last summer at the age of 47, shortly after completing this slender novel “written entirely in verse.” His previous books have been largely satirical, so this final work is a departure: stretching across the country and the twentieth century, the novel’s stories are linked by “acts of generosity or cruelty.” Ira Glass, who brought Rakoff to the airwaves for more than a decade, has described the book as “very funny and very sad, which is my favorite combination” (a fair descriptor of much of Rakoff’s radio work, like this heartbreaking performance from the live episode of “This American Life” staged just a few months before his death.) (Elizabeth)
Five Star Billionaire by Tash Aw: In his third novel, Aw writes about Malaysian immigrants to contemporary Shanghai, featuring an ensemble cast who hail from diverse backgrounds; their stories are interwoven, and counterpointed with the lives they left behind. Aw, who was a practicing lawyer while writing his first novel, The Harmony Silk Factory, won accolades for his debut: longlisted for Man Booker Prize, International Impac Dublin Award and the Guardian First Book Prize; winner of the Whitbread First Novel Award as well as the Commonwealth Writers Prize for Best First Novel (Asia Pacific region). (Sonya)
Night Film by Marisha Pessl: This much-anticipated, oft-delayed follow-up to Pessl’s bestselling Special Topics in Calamity Physics originally set to come out in 2010 is now scheduled – no, this time they really mean it – in the fall. The novel is a “psychological literary thriller” about a young New Yorker who sets out to investigate the apparent suicide of Ashley Cordova, daughter of a reclusive European movie director. (Michael)
The Infatuations by Javier Marías: Javier Marías’s new book, translated by Marguerite Jull Costa, is his 14th novel to be published in English. It was awarded Spain’s National Novel Prize last October, but Marías turned it down out of an aversion to receiving public money. It’s the story of a woman’s obsession with an apparently happy couple who inexplicably disappear. It’s his first novel to be narrated from a woman’s perspective, so it will be interesting to see how Marias manages to accommodate his penchant for detailed descriptions of ladies crossing and uncrossing their legs. (Mark)
Clare of the Sea-Light by Edwidge Danticat: My time at the University of Miami overlapped with Danticat’s, though unfortunately I never took her creative writing course. I did, however, see her speak at an event for the English department during my junior year. She was astounding. There are prose stylists in this world and then there are storytellers, and rare are people like Danticat who are both. She read from her memoir Brother, I’m Dying, which features one of the most devastating and personal depictions of our wretched immigration system ever written. Haiti has always been an remarkable place – a nation built with equal measures of hope, passion, charm, malfeasance and tragedy. In this forthcoming story collection, Clare of the Sea-Light – which draws its title from a piece she originally published in Haiti Noir – we can expect the prodigiously talented author to render each aspect of the place beautifully. (Nick)
Necessary Errors by Caleb Crain: Caleb Crain’s debut novel, which concerns the topic of “youth,” borrows its title from W. H. Auden’s 1929 poem “[It was Easter as I walked in the public gardens]” and takes place in the Czech Republic during the last decade of the 20th century. Look for Crain, a journalist, critic and banished member of the NYPL’s Central Library Plan advisory committee, to use research and insight from his previous book – a provocative look at male friendship, personal lives, and literary creation – in order to give Jacob Putnam and the rest of the characters in Necessary Errors a great deal of interwoven influences, covert desires and realistic interaction. (Nick)
Enon by Paul Harding: In 2009, the tiny Bellevue Literary Press published Harding’s debut novel, Tinkers, which went on to win the Pulitzer Prize. Tinkers tells the story of George Washington Crosby, an old man reliving the memories of his life as he dies surround by family. Enon, named for the Massachusetts town where Crosby died, is about his grandson, Charlie Crosby, and Charlie’s daughter Kate. (Janet)
The Signature of All Things by Elizabeth Gilbert: Elizabeth Gilbert’s mega-bestselling Eat Pray Love put her on Time Magazine’s list of most influential people in the world, and then Julia Roberts played her in the movie adaptation. What many fans of that memoir don’t know is that Gilbert started her career as a fiction writer, penning a short story collection, Pilgrims, and the novel, Stern Men, which was a New York Times Notable Book in 2000. Now, 13 years later, she returns to the form with the publication of “a big, sprawling, epic historical novel that takes place from 1760 to 1880, following the fortunes of a family called the Whittakers, who make their name in the early botanical exploration/proto-pharmaceutical business trade.” That description is from Gilbert herself, taken from this candid, illuminating and entertaining interview with Rachel Khong for The Rumpus. (Edan)
Dissident Gardens by Jonathan Lethem: Sunnyside Queens has long held a contrarian perspective. In the 1920s, as urban development projects washed over the outer boroughs, the folks in Sunnyside did all they could to keep the place from turning into a cookie-cutter suburb. Driveways were banned and garages were disallowed. Instead of lawns, the neighborhood’s designers recommended long courtyards that spanned the entire length of blocks – these were meant to encourage mingling and space sharing. It’s no doubt this spirit of dissent, skepticism and opinionated egalitarianism that’s drawn Jonathan Lethem to the neighborhood as the centerpiece for his new novel, a “family epic,” which focuses on three generations of American leftists growing up in the outer borough. (Nick)
Bleeding Edge by Thomas Pynchon: Washington Post critic Ron Charles broke the news recently that Thomas Pynchon will have a new book out from Penguin this fall called Bleeding Edge. (Though Penguin says the book has not yet been scheduled). Charles said the news of the new book was confirmed by two Penguin employees and that “everything is tentative” at this time. More as we know it, folks. (Max)
Subtle Bodies by Norman Rush: There’s still not much to report on Rush’s latest, a novel of love and friendship set in upstate New York on the eve of the Iraq War. In October, though Granta Books in the U.K. announced an autumn 2013 publication date, so here’s hoping… (Garth)
The Dying Grass by William T. Vollmann: The fifth of Vollmann’s Seven Dreams books to appear, The Dying Grass will most likely not see print until summer of 2015, according to his editor. First up is Last Stories, a collection of ghost stories slated to hit bookstores next year. Assuming there still are bookstores next year. (Garth)
Your Name Here by Helen DeWitt: Your Name Here seems to be stuck in a holding pattern at Noemi Press, befitting, one supposes, its tortured publication history. In a recent Believer interview, DeWitt suggested that the version that appears in print, if it appears in print, may not be the same as the .pdf she was selling on her website a few years back. Chunks may have been spun off into other works of fiction. Whatever the damn thing ends up looking like, we eagerly await it. (Garth)
Escape from the Children’s Hospital by Jonathan Safran Foer: Foer returns to childhood, to trauma, and to interwoven voices and storylines. The childhood here is Foer’s own, though, so this may mark a kind of departure. We’ll have to wait and see, as no publication date has been set. (Garth)
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