Now in its second glorious decade, the Year in Reading has become a Millions tradition, featuring contributions from a roster of emerging and marquee authors, staff writers, and friends of the site. It’s an effort that yields hundreds of books for to-be-read piles, as well as some of the best writing we run all year. After 13 years of solo striving, this was the first year that site editor C. Max Magee finally called for reinforcements; we happily stepped into the breach (now that we've seen the amount of work that goes into this, we’re a little frightened of him). It has been a thrill to look for exciting voices, to send emails like carrier pigeons off into the universe and hope they’ll come back bearing book recommendations from Stephen King (maybe next year). If you follow the literary world, you’d think that everyone is reading Elena Ferrante 24/7. And while lots of people are (you’ll see), Year in Reading is also our annual chance to peek behind the curtain at people’s singular reading lives—who went down a comics wormhole, or read multiple Freddie Mercury biographies, or discovered August Wilson for the first time. And not only what they read, but how they felt about what they read--how the reading shaped the year. There are a huge number of books represented in the series this year, many fantastic lists, and many extraordinary meditations on reading and life. We think you’ll enjoy reading them as much as we enjoyed putting them together. As in prior years, the names of our 2015 contributors will be unveiled throughout the month as their entries are published. Bookmark this post, load up the main page, subscribe to our RSS feed, or follow us on Facebook or Twitter to make sure you don’t miss an entry. - Your Year in Reading Editors, Lydia Kiesling & Janet Potter Stephen Dodson, co-author of Uglier Than a Monkey’s Armpit, proprietor of Languagehat. Ottessa Moshfegh, author of Eileen. Atticus Lish, author of Preparation for the Next Life. Angela Flournoy, author of The Turner House. Claire Messud, author of The Woman Upstairs. Celeste Ng, author of Everything I Never Told You. Nell Zink, author of Mislaid. Claire Vaye Watkins, author of Gold Fame Citrus. Chris Kraus, author of Summer of Hate. Katrina Dodson, translator of The Complete Stories of Clarice Lispector. Joyce Carol Oates, author of The Accursed, among many other books. Saeed Jones, author of Prelude to Bruise. The Book Report, everyone's favorite literary show. Bijan Stephen, associate editor at the New Republic. Garth Risk Hallberg, contributing editor for The Millions, author of City on Fire. Lydia Kiesling, staff writer for The Millions and creator of the Modern Library Revue. Janet Potter, staff writer for The Millions. Elizabeth Minkel, staff writer for The Millions. Emily St. John Mandel, staff writer for The Millions and author of Station Eleven. Michael Schaub, staff writer for The Millions. Thomas Beckwith, social media and previews editor for The Millions. Anne K. Yoder, staff writer for The Millions. Chigozie Obioma, author of The Fishermen. Greg Hrbek, author of Not on Fire, but Burning. Terry McMillan, author of Waiting to Exhale. Sasha Frere-Jones, writer and musician. Matthew Salesses, author of The Hundred-Year Flood. Meaghan O’Connell, author of And Now We Have Everything. Cristina Henríquez, author of Come Together, Fall Apart. Vinson T. Cunningham, contributing writer for The New Yorker. J.M. Ledgard, author of Submergence. Nadifa Mohamed, author of The Orchard of Lost Souls. Manjula Martin, editor of SCRATCH: Writers, Money, and the Art of Making a Living. Lauren Groff, author of Fates and Furies. Alexander Chee, author of Edinburgh. Olivia Laing, author of The Lonely City. Rahawa Haile, author of short stories and essays. Rumaan Alam, author of Rich and Pretty. Justin Taylor, author of Flings. Julia Alvarez, author of How the Garcia Girls Lost Their Accents. Jaquira Díaz, editor of 15 Views of Miami . Dave Cullen, author of Columbine. Hannah Gersen, staff writer for The Millions. Tess Malone, associate editor for The Millions. Matt Seidel, staff writer for The Millions. Claire Cameron, staff writer for The Millions, author of The Bear. Nick Ripatrazone, staff writer for The Millions, author of We Will Listen for You. Edan Lepucki, staff writer for The Millions, author of California. Viet Thanh Nguyen, author of The Sympathizer. Daniel José Older, author of Shadowshaper. Lincoln Michel, author of Upright Beasts. Rebecca Carroll, author of Saving the Race. Ana Castillo, author of So Far from God. Patrick Rothfuss, author of The Name of the Wind. Katie Coyle, author of Vivian Apple at the End of the World. Sady Doyle, a writer in New York. Patricia Engel, author of Vida. Manuel Muñoz, author of What You See in the Dark. Karolina Waclawiak, author of The Invaders. Hamilton Leithauser, a singer/songwriter in New York City. Catie Disabato, author of The Ghost Network. Parul Sehgal, senior editor at The New York Times Book Review. Margaret Eby, author of South Toward Home. Tahmima Anam, author of A Golden Age. Sandra Cisneros, author of Have You Seen Marie?. Brian Etling, intern for The Millions. Nick Moran, special projects editor for The Millions. Jacob Lambert, staff writer for The Millions. Michael Bourne, staff writer for The Millions. Bruna Dantas Lobato, intern for The Millions. Bill Morris, staff writer for The Millions, author of Motor City Burning. Summer Brennan, author of The Oyster War. Kerry Howley, author of Thrown. Rachel Eliza Griffiths, author of Lighting the Shadow. Maggie Nelson, author of The Argonauts. Lauren Holmes, author of Barbara the Slut and Other People. Kate Harding, author of Asking for It. Year in Reading Outro. Don't miss: A Year in Reading 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
On a recent afternoon I rode home from the subway station on a local bus as I do every workday. Looking up from my book for a moment as we passed the high school, I spotted a very old man on a very small bike -- child-sized, smaller than my seven year old’s. His knees stuck out like pinched wings and the tallest point of the frame rose hardly as high as his thighs. He rode slowly and I doubt he had any choice, with the tiny bike wobbling and his own wiry frame swaying above it as he pumped himself up the steep hill of the sidewalk in the darkening winter light of near-dusk. He was only in sight for a couple of seconds, just long enough for the bus to slide by, and it’s unlikely I’ll ever see him again or if I do, around town, I doubt he’ll again be on that bike in that spot in that particular gray cast of weather and time. I might spot him somewhere else and not know it, without that whole scene to recognize him by. It was a perfect moment, though: a whole story captured and crystallized in one glimpse, piquing my curiosity about who he could be and what brought him to being a grown man on a child’s bike in the center of town on that particular day. Was he headed to the bank, or the library, or bar? Had he fixed the bike for a grandchild and gone out to test the repair before giving it back, or was he simply taking a ride on a bike of his own? It’s the stuff of fiction, the lives we glimpse in peripheries of our own, whether those we observe in mysterious passing or those we pull from thin air. But when we pull those lives to the center to tell their stories, what do we put in their place? Too often it seems to be nothing, making so much of the fiction I read feel claustrophobic with no sense of other lives mattering at the edges and no impression of a world deeper and wider than those parts inhabited by the central characters we’re asked to attend to. Fiction can show us an individual, idiosyncratic mind, or at least the semblance of one in the tangled, rambling, multivocal chaos of our own thoughts in lieu of the tidier, deliberate narratives we’d like to imagine our intentions and actions to be. Outside ourselves, though, there are so many others going about actions and intentions and baffling, beautiful lives of their own, riding tiny bicycles uphill and yelling hilarious non-sequiturs of half-conversation into their phones on the bus and -- because those others aren’t always human -- chasing each other in circles as three squirrels are doing outside my window just now. Perhaps none of those amount to much narrative potential apart from being cast as metaphors in the shadow of a more dominant plot, but I want to be reminded of those active edges when I read stories. Or watch them, because I can’t help wondering in every action movie: what happens to the anonymous drivers whose cars smash together when the hero and villain race through in a destructive chase? Or the broken neighborhoods left behind after the hero and villain throw bombs or fireballs or whatever their weapons of choice. We never linger long enough with our camera eye to see those collateral damages tallied; we never see those drivers and their passengers -- their children, their pets, their spilled cups of coffee and broken bones -- emerge from crashed cars. We never learn if their insurance covers the damage and injury, or if they lose jobs and opportunities and miss weddings of favorite nieces after the crash makes them late to wherever they’re headed. It would be hard to suspend disbelief well enough to enjoy the car chasing action at all if we were reminded so many lives had been wrecked along with the anonymous vehicles. Those films wouldn’t work if we had to consider the people who clean up the mess and live with the consequences and loss in the background of the more dramatic scenes we’re meant to focus on exclusively, never mind the quagmires of denied insurance claims and downward spirals of ongoing misery the action might cause. But there’s a lot of life at those edges, too much to be simply erased by the speed with which our hero’s car races away. I can’t say I’m a fan of Austin Powers, but that film includes two of my favorite moments in cinema. Almost includes, I suppose, because both were cut from the U.S. release and only offered as deleted scenes on the DVD. Each of them follows the violent death of one of Dr. Evil’s henchmen, the first crushed by a steamroller and the second “decapitated by an ill-tempered mutated sea bass.” Each scene shows the bad news being broken to his family or friends, revealing the wider networks those marginal characters exist in and that they were individuals rather than abstract scraps of collateral damage. The scenes are played for humor, of course, because it’s that kind of movie. But they’re inherently, unavoidably sad (maybe that’s why they were cut?) and pull the rug out from under the genre’s conceits. Or, to be more accurate, the genre being parodied, because imagine how much less enjoyable and escapist James Bond or Jason Bourne’s exploits would be if we had to think about the trail of garage and hospital and funeral bills behind them. That kind of attention to the edges, a disruptive attention that makes the periphery no longer peripheral at all but powerfully central, is one of the qualities that puts J.M. Ledgard’s Submergence among the best novels I’ve read in a long time, if not ever. In far more earnest and poetic fashion than Austin Powers, Ledgard takes seriously all the lives in his novel, from the ostensible protagonists -- a would-be couple separated by distance and circumstance -- to terrorist kidnappers to deep ocean microbes. The microbes matter no less to the novel and no less to the reader (at least to this reader) than the humans do. That’s not because the human lives are devalued but because Submergence keeps us mindful of the long view of time and the broad view of life. The novel leads us to ask why we are so focused on the “love story,” or on the suffering of one or two short-lived humans, when there are millions of other living things in the world, many of which are suffering and surviving in their own ways, all of which are as deeply fascinating and rich and worthy of our attention as human politics and romance. I’ve seen Ledgard refer to his desire to write what he calls “planetary fiction,” an intention I feel most keenly in that sense of time and scale and of treating all life as significant whether at the anthropocentric center of our expectations or on the more complex margins of the story he seems to be telling. I hoped to bring a similar kind of attention to my own novel Fram, by acknowledging the lives and stories that fall by the wayside of stereotypically macho, action-oriented genres like spy thrillers and Arctic explorers’ accounts. What’s going on elsewhere to make those exciting quests possible? What are we not being given as readers in order to keep us turning pages? Real polar explorers were supported by their partners in any number of ways, as Kari Herbert writes of in Polar Wives: The Remarkable Women behind the World's Most Daring Explorers, either in person or from a distance. But the lives of those women were no more defined by absent men than their husbands’ were defined by pure rugged individual toil despite the presence of support staff. Those women existed -- and this is so obvious it hardly bears saying -- entirely in their own right, as did everyone else who allowed those explorers to be “self-made men,” the Matthew Hensons of history. Not locked away for years at a time awaiting their returning conquerors in passivity, but busy being alive. As entrenched in their own stories as the families of Dr. Evil’s henchmen or J.M. Ledgard’s microbes. As were the indigenous locals explorers employed or exploited to steer them across the ice, or in the case of Robert Flaherty’s Nanook of the North to play the role of “noble savage” for southern audiences unlikely to ask who “Nanook” really was as he comically gnawed on a phonograph record, an iconic scene I’ve inserted into my own story in reconstituted form. Not to replace one voice or view with another but to remember, always, that there are more stories than we can tell at one time or fit onto one page. We’re always going to leave some untold or unsatisfying as we rush past them in the pursuit of narrative tension and fulfilling plots and rapid page-turning. The least we can do is to keep a reader aware other stories aren’t being told as a consequence of the one we’ve chosen to focus on and how we’ve chosen to tell it. That a desire for action and excitement, and the tidiness that serves them so well, often results in overlooking the extended outcomes of stories for the sake of narrative satisfaction. An erasure, perhaps, that flows off the page into culture at large. It’s frustrating sometimes, for many of us, to be reminded of the stories that matter apart from our own and that we might be complicit in pushing them out to the margins. Anyone who has followed news of Ferguson and #GamerGate and so many other painful public narratives in recent months already knows how difficult those conversations can be. But so what? The difficulty is our sign it matters and that we need to get better at it. Considering the stories we tell and how we tell them is one place to start, even if it frustrates readers or even distracts them, and perhaps there are ways for us to write that make such frustration and distraction meaningful. “Planetary fiction,” as Ledgard calls it, but we might also call it humane and attentive. We might call it mindful. There are novels like Wide Sargasso Sea and Wicked and Mary Reilly that retell stories we know from new angles, and there are whole worlds of fanfiction letting new voices speak, as Anne Jamison’s recent book Fic demonstrates so well. But it’s the voices that speak from the edges of even those stories that interest me most, the further possibilities even retellings create, and the ways our attention might always be split between the story we’re being offered and awareness of those we are directed away from by the necessity of moving ahead. It’s not that we are somehow required to tell every possible story -- though perhaps, at its best, social media is getting us closer in its banal, beautiful way -- or to tell stories other than the ones we’re personally, mysteriously drawn to tell. But maybe doing better at reminding our readers and viewers there are other stories that might be told instead will encourage more people to tell them, to move the edges into the center, and encourage those in positions of influence to offer a platform without dismissing them as stories “nobody wants” while leading others still to listen to them with more attention. Image Credit: Flickr/Dyrk.Wyst.
I divide this year’s shortlist into three categories: Tales Well Told, Fun Stuff, and Miracles of Voice. Tales Well Told includes books with stories that captivated. In some cases I wasn’t sure why I liked the book, but I just wanted to keep reading. More, more! These were the books I left parties early to go home to read (or for which, more likely, I skipped the party), the ones that might have caused me to miss my subway stop had I read them on the subway, but I usually didn’t because I had already read them through the night before. Gripping stories, unexpected turns of plot, I have to know what happens next! More, more, more! Meg Wolitzer's The Interestings, which I picked up having been entranced by her reading at last year’s Brooklyn Book Festival; Hilary Mantel's Bring Up the Bodies, every bit as wonderful as Wolf Hall; two impressive and chilling debut novels: The Kept by James Scott and Celeste Ng's Everything I Never Told You; Robin Black's Life Drawing, which I read in one sitting; Elizabeth Kadetsky’s transporting The Poison that Purifies You; Jay Cantor’s Forgiving the Angel: Four Stories for Franz Kafka, hand-sold to me by a very smart bookseller; and Richard Yates’s The Easter Parade, recommended to me by some wise person on Facebook when I said I was looking for something sad -- what that man does with dialogue! I tend to read a lot of Fun Stuff -- by which I mean lively work that makes me laugh, enjoyable books, playful books, entertaining and absurd books. Among the best I read this year were Steve Stern’s The Frozen Rabbi; Jeremy Bushnell’s The Weirdness; Kate Atkinson’s Life After Life; and the brilliant, moving, and otherwise-perfect-in-every-way How to Live Safely in a Science Fiction Universe by Charles Yu. The largest group of loved books this year and probably every year are Miracles of Voice, almost all of which, perhaps because of their eccentricities, are small press books: Alissa Nutting’s riveting collection Unclean Jobs for Women and Girls; Lore Segal’s witty and sad Half the Kingdom; Jeff Jackson’s startling Mira Corpora; Submergence, J.M. Ledgard’s gorgeous tour de force; Catherine Lacey’s stunning Nobody Is Ever Missing; Kevin Barry’s captivating City of Bohane; and, perhaps above all, Patrick McCabe’s heartbreaking The Butcher Boy, the voice of which stayed in my head for many inconvenient days when I was trying to write my own original pages. More from A Year in Reading 2014 Don't miss: A Year in Reading 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
I did something in 2014 that would throw a wrench into anyone's reading: I bought a bookstore. Selling books, as I wasn't surprised to find, doesn't leave much time for reading them. Also, it meant I became -- not for the first time, but never so publicly, on such a daily basis -- a professional reader, as many of us are lucky to end up being in one way or another, as teachers or editors or researchers or some other line of work that corrals your attention from the luxury of polymorphous curiosity into something more traditionally productive, in my case trying to keep up with some of the new releases I might be able to share with my customers. So, early in the year, my reading shifted back from personal to pro, but there were good books on both sides of the divide. And aside from a few favorites (see below), what I find myself remembering as vivid reading experiences are not consistently excellent books like Marilynne Robinson's Lila, Ben Lerner's 10:04, David Markson's Reader's Block, Vera Brittain's Testament of Youth, Lawrence Wright's Thirteen Days in September, Tove Jansson's The Summer Book, Jeff VanderMeer's Annihilation, Edward Hirsch's Gabriel, Brendan Koerner's The Skies Belong to Us, and William Gibson's The Peripheral -- all very good books I'd happily put in your hands if you walked into my store -- but the more jagged-edged books I might hand you with a caveat. I remember, with delight, the first half of Anthony Trollope's The Eustace Diamonds -- "Finally reading Trollope," I told everyone, or, rather, tweeted. "What took me so long to sample this deliciousness?" -- before his stamina started to outlast mine. I was delighted too with the first half of Joseph O'Neill's The Dog and the voice he captured, as companionable as Netherland's but more chilling (like P.G. Wodehouse telling a J.G. Ballard story), even if for me that voice never grew into a full book. I admired and enjoyed Farther and Wilder, Blake Bailey's biography of Charles Jackson, but I wondered if his subject was worth his talents until the final third -- usually the least interesting in any biography -- when Jackson's accumulated troubles, and his belated reckoning with them, made his life profoundly moving. And though Joel Selvin's Here Comes the Night had for me a hole at its center == the interior life of its ostensible subject, unsung record man Bert Berns, remained a cipher -- I loved Selvin's hepcat riffs on Berns and his fellow "centurions of pop." And then there were the books I loved best, all novels, it turns out. The best book I read this year was Richard Flanagan's The Narrow Road to the Deep North, which I hope I don't need to say much about. In Manny Farber terms, it plays a white elephant game rather than a termite one: tackling a major national and personal subject head on and relying on the traditional methods of the novel to do it. It's the kind of book that wins awards, and in this case deservedly so. I also loved Michael Winter's Minister Without Portfolio, a much more termite-ish book after it gets beyond an early Big Event and settles into working out the everyday morality of rural life in a reticent romance I was startled to realize reminded me of Kitty and Levin's in Anna Karenina. Merritt Tierce's debut, Love Me Back, more or less tore my scalp off. She tells the story of a single mom waitressing her way up the service-industry ladder to a high-end Dallas steakhouse, with disarming amounts of sex and drugs along the way, and strips it of any success -- or redemption -- story arcs. Desire and discipline and self-destruction are constant forces that ebb and flow and are by no means sated by the story's end. Peter Mountford's The Dismal Science is also about the always underserved topic of work: a high official at the World Bank decides to speak a few truths (which he's not entirely certain are true) and thereby blow up his life. In part I loved it because it captured the culture of Red-Line-to-Shady-Grove D.C. and Maryland I grew up in like no other fiction I've read, and in part because it's the kind of novel where a character walks into a room and you get the feeling that neither he, nor his creator, knows what he is going to do there until he does it. (Right afterwards I read Mountford's previous novel, A Young Man's Guide to Late Capitalism, a companion to this one, and liked it nearly as much.) And lastly, the first book I read all year (if the January 2 train ticket still inside is to be believed) is the only one close to Flanagan's in my mind: J.M. Ledgard's Submergence. It's both an excellent book and a jagged one. Its jaggedness -- the resistance I felt when reading it, and the thing I feel obligated to warn about when I'm recommending it -- is its almost perverse formality. To someone schooled in the hi-lo tendencies of our time, Ledgard's elevated style is a provocation; I'm not sure there's a contraction in the entire book, for instance, aside from a few in dialogue. And the characters in his dual storyline, who connect for a few days at a quietly luxurious hotel on the French coast, have an equal sense of exceptional cultivation. They think of life in terms of centuries: one a mathematician and ocean researcher who, as she prepares to descend to the floor of the Atlantic in a tiny submersible, is confident her name and her discoveries will live for hundreds of years, the other a British spy in Africa whose thoughts, as he is held hostage by Somali jihadists, keep returning to his English forebears and the utopias they imagined half a millennium before. I find myself wanting to make fun of Submergence, to goof on its gravity (and on Ledgard himself, whose author bio describes him as "a thinker on risk and technology in emerging economies"), but the thing is, I can't. He pulls it off, and earns every bit of profundity he claims. And it's the thinking in centuries that does it: the awareness of the massive scales of biology and history, alongside the poignancy of individual existence. I often don't care about the ends of novels, and I can't tell you what finally happened in many of the ones I love most, but there are some endings that, in the process of tying things up, open up an abyss of meaning that's almost unbearable. This is one of them. More from A Year in Reading 2014 Don't miss: A Year in Reading 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
1. Lars Iyer's Wittgenstein Jr. is the only book I read twice this year. It took me much longer than usual to write the review, because I was afraid I wasn't doing the book justice. It is an absolutely exquisite, elegant novel, with a cadence and rhythm all its own. 2. I picked up the galley of Michel Faber's The Book of Strange New Things with low expectations, because it was just one of those random books that arrive on my doorstep every day and aliens and interstellar travel aren't usually my thing, and found one of the best books I've ever read. It’s about a Christian missionary on an alien planet, and it’s a love story, and the last line destroyed me. Some months later in London I was signing stacks of books in the basement of the wonderful Goldsboro Books, which specializes in signed first editions, when the proprietor wandered downstairs with the Goldsboro edition of The Book of Strange New Things, an exquisite object in white and gold. I am generally immune to the charms of signed first editions, but I ordered it when I returned to New York. A few weeks later, an editor in New York sent me a finished copy of the American version, and now the two hardcovers sit next to one another on my bookshelves, and usually I am ruthless about preserving bookshelf space, but it is impossible to dispose of either edition. 3. Elena Mauli Shapiro's second novel, In The Red, was left out in the rain by a UPS delivery guy. By the time it reached me it had turned into a swollen, rain-warped thing. I brought it indoors and let it dry for a few days before I read it. Shapiro’s novel is spectacular. It's a dark story about a bright young woman’s descent into a criminal underworld, realism interlaced with fairy tales. The protagonist is the kind of woman who we’re used to seeing as arm candy in gangster films, the kind of woman whose main jobs are to be beautiful and to not notice what’s going on around them. The book is an expert meditation on money, morality, and belonging, and I found it mesmerizing. I tried to champion it on tour. That was the book I named when people asked what I’d read recently that I’d recommend, unless they asked about books that have science fictional overtones, in which case I went with the Michel Faber. 4. The book I loved most this year was J.M. Ledgard's Submergence. Without reservation, I would call Ledgard’s novel a masterpiece. It opens in Somalia, 2012, with a British spy imprisoned by jihadists in a windowless room. Far away, on a distant northern sea, a biomathematician is preparing to descend by submersible to the ocean floor; her area of expertise is the Hadal zone, which encompasses the very deepest parts of the ocean. The imprisoned man and the biomathematician met some months earlier, and are in love; they are hopelessly far apart, but their thoughts return to one another as they go about their days. When you consider that the Hadal zone exists in trenches and was named for Hades, unexpected parallels between their situations begin to emerge. It’s a book about, well, submergence; a man sealed into a prison from which he might not emerge, a woman descending into the inhospitable dark. More from A Year in Reading 2014 Don't miss: A Year in Reading 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
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. More from A Year in Reading 2014 Don't miss: A Year in Reading 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
I have a dark and abiding love for the electronic dance music of the nineties and aughts. If it shows up on the “Faithless” Pandora station; if it has been compiled in a collection like “I Love Ibiza” or “Ultimate Trance Vol. 18”; if it has the seductive hooting of indigenous pipes and angelic female voices over a thumping beat; chances are I like it. They have machines that pulse a beam of sound and cause you to fall down shitting; I hear this kind of music and compulsively yearn. I first heard it when I was a cooped-up teenager watching MTV Europe in a hot Athenian apartment, and it has always seemed to represent all of the sexy, free, mystical things that are expressly forbidden the adolescent. None of my experiences with this music in the wild have approached its promise when it vibrates in that apartment or in my headphones, while I vacuum the house or write this review. Of all this genre's notes, the plaintive thumps the loudest. I tell you this now only because something about the experience of reading J.M. Ledgard’s Submergence recreated this feeling so profoundly that I felt compelled to break out the Faithless and examine the component parts of my enthusiasm. I learned about Submergence on Twitter (never say that Twitter never gave me anything). The novel is, variously, a love story, martyrology, heresiography, science book, and spy novel. Like its Twitter supporters, who spoke in rapturous terms, I was sucked into the novel right away, from its commanding first line -- “It was a bathroom in an unfinished house in Somalia in the year 2012" -- to its final epigraph from Horace: "Plunge it in deep water: it comes up more beautiful." The plaintive is alive in this novel. It is largely the story of a James More, a British spy who is being held by Somali Jihadists. The latter are beleaguered and ineffectual in the scheme of their own ambitions, but deadly effective for people in “a very dark and specific place” -- like James More in his unfinished bathroom, like the fourteen-year-old Somali girl who is hooded with burlap before her stoning. As More is taken out and mock-executed, as he is worked over and then marginally repaired by a marginally sympathetic doctor, as he is taken to a desolate waterless part of Somalia and then to a mangrove forest, he contemplates damp England, and his forebear Thomas More, and, most importantly, a romantic week during which he met and fell in love with a dazzling scientist based in London. The scholarship of this woman, Danny Flinders, forms the leitmotif of the novel: she is interested in the patterns and mysteries of the deepest ocean, the least known part of the world. The novel follows More in his dark and specific place and Danny in hers -- a submersible in a near-mythological section of the ocean called the Hadal deep. Submergence flirts both with what is called Big History, a an all-inclusive discipline of which the human experience forms a miniscule part, and with the genre of “CliFi.” As Danny tells James during their interlude: Let’s say the Atlantic is 160 million years old...We appeared less than one million years ago. We walked in yesterday. It’s not much of a claim. Yet somewhere in the Atlantic right now and in other oceans...some man is smashing up a seamount more ancient than any greenwood on land, which he can’t see and refuses to value. I have a weakness for bizarre analogies, but I think this novel aligns with my secretly cherished dance music, both its content and its praxis. Thematically, the novel shares many of the same elements with electronic dance music -- the erotic, the foreboding, the melancholy, the mystical, the vaguely orientalist. There are reasons that electronic dance music and club culture has been cited in scholarly articles about modern forms of religious or spiritual practice. James himself thinks along these lines -- one of his dreams in captivity describes: ...a Lenten carnival. A Christ-like figure on a carnival float was leading a crowd of young people in a dance. The music was techno. The street was narrow. Bodies were pressed up against old buildings...the Christ and the crowd repeated over and over with their hands a thousand years of love, a thousand year of peace. (The bacchanal is cut short by a suicide bomber.) Electronic dance music invokes mystical themes, with lines like “This is my church” or nonsense about the ocean: “Open my eyes/ Bigger/ Listen to us/ Swimming in Saltwater.” Its beats are structured for maximum epiphany and release. It is culturally affiliated with mind-expanding drugs that promise vast sensation and awareness that will be lost in the morning. Submergence too encourages spiritual-philosophical meditations about things you don't really understand. The novel is full of information about the most mysterious parts of the planet and its inhabitants; never before have I heard about a Cuvier’s Beaked Whale, let alone pondered the romance of its liminal existence. Ledgard concludes an unforgettable description of decomposition and reanimation at the bottom of the ocean thus: "Hades is evolved to the highest state of simplicity. It is stable. Whereas you are a tottering tower, so young in evolutionary terms, and addicted to consciousness." Submergence offers up a similar, if headier and wetter, line of inquiry than the bio-mathematics of Tom Stoppard’s Arcadia: “We exist only as a film on the water,” Danny tells James. Whoa. (This novel encourages you to look for the meaning of things. I learned later that “Hadal” is also the term for “word, “speech,” or “expression” in Somali. I don’t know what this means, but it just seems important. After all, the Angel Gabriel told Mohammed, "Recite"; the miracle Qu'ran was his recitation. For better or worse, this is the mode that Ledgard puts you into.) Some of my interest in techno music is rooted in that yearning teenage place, trapped in a parental apartment and wishing to be out among the European youth, to whom everything, I erroneously believed, was permitted. The novel is finally calibrated to exploit yearning for the world. Danny and James embody the infinitely attractive versions of statelessness. She is a brilliant and great-looking woman of Australian and Martiniquan descent, with a cabin in Italy, an apartment in London, at home in Switzerland and the bottom of the ocean. James is both personally and professionally tied to his particular state, but he is still at home in the world, a speaker of Arabic. In his normal life you can find him among the Jacaranda trees, wearing linen shirts and eating breakfasts of “papaya and scrambled eggs, toast, and Kenyan tea.” These are cosmopolitans. Americans are sensitive to the very existence of people this cosmopolitan, and they show poorly in the novel. They are the CIA guy in a food court talking over a terrorist's errant appendage: “We think it’s an Arab hand, don’t we Bob?” They are on the boat with Danny, the un-fun ones who spend the voyage “sipping iced water,” who “purchase ugly expedition t-shirts.” The women “covered themselves in such loose-hanging cotton garbs...seldom wore high heels in their lives, and...felt [Danny] was a snob and an ice maiden.” Their hotels are “prefabricated, with piped music, airless corridors, tinted windows that would not open, circulated air that could not be shut off, a small plastic bathtub, chlorinated water...” Meanwhile, the British have "Chaucer to Dickens, the First World War poets, Graham Greene typing through the smog and drizzle" (and lots of club hits). The American reader is left feeling a bit resentful: Just you wait, motherfucker -- our uniformity is contagious. And then Ledgard has the last laugh, because he shows the very American-ness of that instinct -- the blind, obliterating force of American reaction: It glinted. It burned from its tail. It was an astonishing creation. Entirely human, wholly American...It was impossible in the final moment not to see the missile as something more. There are several versions of statelessness. In addition to Danny and James, there is the decidedly nasty kind, the men who leave home turf of Saudi, or Pakistan, or Afghanistan, or the United States, to come to Somalia and build a frontier of Jihad, a sad inversion of the roving Muslim scholars of centuries past. Jihadists are often described as harboring a medieval view of things, but this is in many ways an affront to medieval Islam, when the practice of religion and the pursuit of knowledge in the sciences and humanities were often the same thing. I think Ledgard knows, although one is never sure whether James More does, that without these Muslim scholars and their translations from Greek to Arabic and back to Greek, James More’s ancestor Thomas, his beloved Francis Bacon, might never have known their Classical philosophers. (Ironically, a real-life “Thomas More Law Center” exists, in benighted America of course, to forestall those “Radical Muslims and Islamic organizations in America” who “take advantage of our legal system and are waging a 'Stealth Jihad' within our borders.”) I disliked how little room the novel made for the non-Jihadi varieties of Islam, but why should it, I suppose, when More's captors make even less? Many critics have made passing reference to John le Carré as a point of departure for Submergence, since this novel, because of all the mythical deep and so forth, is so much more than just a spy novel. But some of its success, I think, lies in the dexterous deployment of elements of genre fiction. John le Carré is himself a departure and elaboration of genre. And while he is not poetic in the Ledgard mode, like Ledgard he is so observant, so fond of characterizations, and makes them in such a way -- with the dangerous seduction of erudite British public servants -- that you are certain they are true. Like the novels of John le Carré, who has a conscience and is often concerned with dark matters, Submergence thrums at the level of high genre from which wonderful novels emerge. Lonesome Dove (the ne plus ultra). Neuromancer. Charlie Smith's Men in Miami Hotels. High genre is fiction that allows you to investigate an individual text, because it is full of its own traits and merits, whether in its characterizations, its plot, or its prose. Regular genre, I suppose, is something you can only talk about as a family -- tracing the themes shared collectively among its members. High genre will always be vulnerable to the taint of its lower peers, because it shares the equipment, the same beats. This is why people are drawn to True Detective, and yet can accept assertions that it is just another dead naked lady show. I mentioned the praxis of electronic dance music. Detractors would have it that this music is derivative noise, the artless patching together of beats at just the right frequency to make the ladies tear off their cardigans in the middle of the dance hall. These are the same kinds of things that people say about genre novels. But DJs (like medieval Islamic poets, in fact), demonstrate their mastery through use of the material of their peers and predecessors. You don't always need to reinvent the wheel. You just need to be really good at spinning it. There is some less-high genre at play in Ledgard's novel, too. Rand Richards Cooper's New York Times review of The Constant Gardener called le Carré "the writer who rescued the spy novel from the clutches of Ian Fleming by creating an anti-James Bond -- the spy as brooding skeptic, whose freedom from conventional mores conferred not playboy romance but the loneliness of exile." This was 2001, several years before the Bond franchise was reanimated in a darker key, with all the visual pleasures of earlier Bonds but decidedly more brooding. I'm thinking of the film Casino Royale, which, like Submergence and techno music, is sexy, sad, and possessing of high production values. Ledgard wrote a scholastic hero and turns your head with trippy descriptions of oceans and molecular life, but some of his pleasures are carnal in the Bond tradition. Consider here, when Danny and James meet over Christmas at the Hotel Atlantic, a Ritz hotel on the French coast, which, with its copper bathtubs and Turcoman rugs, its lobster bisque and suckling pig, is probably the best approximation of one version of heaven in modern fiction. (The ceiling beams have been "soaked in milk for a year to harden them.") In rustic French country splendor, as the snow blankets the world outside and the wind howls across the Atlantic, these sexy people meet for dinner. She, who will be described as both "a Persian and an alley cat," is looking spectacular: “Her dress shimmered purple and brown and in and out of those colors, showing off her breasts and hips.” He wore “a blue suit with suede shoes and a gray Turnbull & Asser shirt. He had only his regimental cufflinks with him. A silver parachute on maroon.” As the snow pours, they eat: ...servings of duck foie gras with a peach wine jelly, Scottish scallops, ham, deboned saddle of lamb from the Auvergne, white beans with truffles, sea bream, poached apricots, bay leaf panna cotta, cheese and chocolates. They drank champagne, a house white wine, Rothschild Bordeaux, Chateau Villefranche dessert wine... And more. They smoke cigarettes. They go upstairs and do it on the rug. By the middle of the novel I was Googling the hotel to see if it existed and if it were possible to get a room. It is now my single greatest material aspiration to stay in a hotel like this. The Bond element resurfaces in funny little ways, as here, when James travels to a small island to track down the family of a terrorist. A sister cooperates, and after their interview, James has another request. “You’ve been very kind,” he said. “Might I ask one more favor?” “But of course.” “I need a haircut. Do you think you could cut my hair?” “I’ve never cut gold hair!” They took a communal taxi across the town. They were squeezed in the back with another woman. He was buttock to buttock between the two...[she] rested her head absently on his knee.” It's such a pointless, comparatively light-hearted, pseudo-sexual, weirdly colonialist interlude, right out of Bond. I’ll cut your hair, I murmured to myself, picturing Daniel Craig. Some people interpret the invocation of genre as a way to temper enthusiasm, which is not my goal here. I am very enthusiastic about this novel, because I found it transporting. Those dinners, those Bondian wine lists, those Condé Nast interiors, are so materially exciting that they do not necessarily detract. If the novel's national and civilizational categories are shallow, its ecological meditations are deep, its imagery sublime. How can I forget the ship Challenger trawling an unexplored trench, its nets bringing up “slime that covered the inside of the dredge...all that remained of the most exquisite forms of millions of sea squirts, salp, and jellies, whose diaphanous musculature -- more remarkable than any alien species yet conceived -- had lost its form in air”? Like the dance music of my teens, Submergence takes me to another plane. I'm so young in evolutionary terms, after all, and addicted to consciousness.
Generally speaking, it’s a good idea to take Kathryn Schulz’s book recommendations. However when she refers to something – in this case J.M. Ledgard’s Submergence – as “the best novel I’ve read so far this year,” you really ought to listen up. By the time she invokes Philip Gourevitch, Anne Carson, W. G. Sebald, and John Le Carré in her review of that book, you ought to be reaching for your wallet.