The first time I stole, I was told it was wrong. It was borrowed from a Garfield cartoon—one character says, “Sticks and stones may break my bones, but words will never hurt me,” and then in the next panel, a dictionary falls on his head. I thought it was funny; I included it in one of my stories. I was seven. When I showed the story to my parents, my dad asked if I’d come up with that joke on my own, and I admitted that I hadn’t. He explained to me that it wasn’t right to use someone’s words without giving credit to that person or without changing them enough so that they were my own; that was called plagiarism. It didn’t make sense to me. This cartoon had been drawn and printed and delivered to my parents’ doorstep for me to unfold and read while I ate my Cheerios. I could cut it out and stick it to the refrigerator with magnets, or roll out a ball of Silly Putty and pull Garfield right off of the page and into my hand. It didn’t make sense that enjoying or admiring or loving something wasn’t enough to make that something mine. As a longtime lover of words, I was a master mimic. After hearing Donna Lewis’s “I Love You Always Forever” on the radio, I spent weeks trying to find and compose the tune on my Yamaha keyboard. I wrote my own song parodies à la “Weird Al” Yankovic. It only made sense that when I read books that I loved, I wanted to try and recreate them. Barbara Park’s Junie B. Jones inspired my own series about a precocious six-year-old named Leslie Ann Mayfield. Cecily von Ziegesar’s Gossip Girl led to the creation of The Girls of Greenwich Academy. They were imitations; they were different only in the sense that I couldn’t have the original and wanted to have control over as close an approximation as I could. I loved these stories like I loved the barrage of letters that Elizabeth Clarry receives from various societies and clubs—each pointing out her faults and shortcomings—in Jaclyn Moriarty’s Feeling Sorry for Celia (the letters being reflections of Elizabeth’s own subconscious thoughts and not real letters, of course), or like I loved a particular passage from Jerry Spinelli’s Stargirl that I wrote out in notebooks and repeated so many times I had it memorized and still can recite it today: “She was elusive. She was today. She was tomorrow…In our minds we tried to pin her to a cork board like a butterfly, but the pin merely went through and away she flew.” I wrote a story composed entirely of letters to myself from fictionalized clubs. I read Stargirl so many times the pages fell out of the binding. But no matter how many times I read these books, no matter how many times I tried to make them my own, they remained too elusive to pin down. My inexperience impeded me. My inability to create something of equal value frustrated me. To create something of my own worthy of that kind of love felt impossible. After I met Curtis Sittenfeld’s Prep, I realized all of my past preoccupations—even with Blair Waldorf and Serena van der Woodsen—had merely been crushes. With Prep, I felt vulnerable and unnervingly understood—I felt loved. Lee Fiora was a misanthrope, a cypher—difficult to like and everything I feared myself to be. Over the course of the four years in which the novel takes place, Lee silently watches her peers, trying at once to imitate them and appear unassuming enough to not be seen. She fails, of course; she fails and exposes herself as a fraud in the most public and humiliating way. I typed out hundreds of pages of the novel, and the sensation of generating Sittenfeld’s words by my own hand on my own screen felt like ecstasy. I dreamed of writing Prep myself. I dreamed of a machine that would allow me to go back in time and steal the manuscript before it was ever published and claim it as my own. But because I couldn’t pluck Prep from Curtis Sittenfeld’s hands like I once pulled cartoon Garfield off a page with putty, I decided to make it my mission: I would write a book that would make someone ache with recognition, a book that someone could love—even if that someone was only me. [millions_ad] I couldn’t know at the time of my preoccupation that Junie B.’s speech patterns and penchant for nicknames is reminiscent of short story writer Damon Runyon. I never knew until later that von Ziegesar modeled Gossip Girl on The Age of Innocence. Even having heard Prep compared to everything from A Separate Peace to The Bell Jar to The Catcher in the Rye, Lee Fiora’s story never felt like anything but her own. It is inevitable to bear a resemblance to classic literature, it seemed to me; everyone is made to read the same books the summer before ninth grade and write the same reports. The difference was that classic literature felt wholly impersonal, unrelatable, obsolete. It was okay to rewrite those stories because—to me—they’d ceased to entertain, to matter. As I began to study writing in earnest in college and later graduate school, I looked not to the past but to contemporaries for inspiration and guidance. I had a love affair with Lorrie Moore my junior year of college; I loved repetition, lists, and long, looping, loquacious sentences that Moore could make funny in their inanity. I met Edward P. Jones and experimented with time, turning to him for guidance so I could shift forward and back without warning and without losing a reader. I wrote whole stories trying to imitate the narrative style of Thomas Bernhard and Donald Barthelme. My senior year of college, Zadie Smith—actual Zadie Smith, that is—came to my advanced fiction workshop the day my story was up for critique, and she noted that I did the Lorrie Moore-esque technique of listing three things, each item more extreme or nonsensical than the last. “The ‘Three Things’ things—that’s a Lorrie thing. It’s been done,” she said. The only part of my story Zadie Smith took special notice of was when the character said she didn’t know how to cook chicken properly so that it wasn’t still pink inside. “That’s honest,” she said. At the time, the only thing that stuck with me after class was pleasure at being told that I wrote like Lorrie Moore. I remember reading Taiye Selasi’s Ghana Must Go and, shortly after, Arundhati Roy’s The God of Small Things, and feeling almost betrayed—Roy’s influence on Selasi was so evident to me that I felt I’d uncovered something devious or even criminal. But everything is borrowed from something, I’ve learned; every story is influenced by those told before it, every voice a reflection of an earlier one. By borrowing stories, trying on different styles, imitating different techniques, I somehow learned to develop my own voice—a cocktail of everything I’d ever read and admired and loved, but diffused through me, made into my own. When I first started showing people my own novel, I heard comparisons to Alissa Nutting’s Tampa and Zoë Heller’s Notes on a Scandal, and—to my great delight—Curtis Sittenfeld’s Prep. But readers also drew comparisons to stories I hadn’t even meant to echo: Lolita and Old School, so-called classics that I’d once dismissed as irrelevant, but that are still called up from the past today to be borrowed and reformed, made new again. Layers and layers of stories and voices in conversation with one another, building on one another; I love that idea, that every story I’ve ever loved is inextricable from my own. That I’ve finally, in a way, made them mine. I worry that the novel I’ve written isn’t anything new. I worry that my story has already been told—been told dozens of times, in fact—and that I don’t contribute anything new to the story’s legacy except another tired imitation. But I also like to think that what I have contributed is my own truth, a personal intimacy, like the redemptive bit about the uncooked chicken. Writing the novel, I channeled Lorrie and Bernhard and Zadie all at once, exploring my characters and their story through several different lenses—empathic, contemptuous, tongue-in-cheek—but what never changed was my desire to make it all feel as achingly, cringingly honest as possible. Years later, an editor would read my novel and tell me that she’d always felt alone in her experience of depression until she read my character’s experience and, for the first time since I’d read Prep at age 14, I felt seen and understood. I have created something, something that may even be worthy of love, but still I covet others. That won’t ever stop. I read to learn and to grow, and even if the things I read make me blind with envy—make me want to rip the pages from the bindings and hide them from the world and claim the words as my own—it only makes me want to improve. Each book I love is a new voice to carry with me, a new style to try on. A new something that I can stretch and hem and saturate with my scent until it feels like me. Like something honest. Image Credit: Flickr/IsabelleTheDreamer.
Two years ago I moved from Hoboken to Baltimore and I marked the occasion in the typical fashion: by pledging to read books only set in, connected to, or written by authors from the state of Florida. My rationale and the precise reasons for its timing elude me to this day. I didn’t think much of it; it simply felt natural. Maybe it had something to do with my relocation occurring during the winter, when the northern air thins out and becomes painful enough to make me crave the amniotic coat of tropical humidity. Perhaps it's explained as psycho-geographic regression. The places I’ve inhabited longest are New Jersey and Florida, and if I was definitely leaving one to settle someplace new, then I suppose it’s natural to yearn for the comforts of the other home I know best. Hell, it might’ve been because I was three years out of college and I missed Miami. Who can really say? Who cares? The short of it is: I made my decision, and I moved forward. What followed was equal parts overwhelming, disorienting, and hallucinatory. That much Florida does a man no good - and that’s doubly true when the man in question lacks any semblance of restraint. See, I wasn’t content to make a structured list and to steadily chip away at it. On the contrary, what I desired most was total immersion, or better yet submergence. So deep ran the currents of my obsession that at one point I set up Google alerts pairing the word “Florida” with random nouns. (You don’t appreciate the depth of Florida’s strangeness until one day you get two different news stories detailing pork chop-related violence: Exhibit A, Exhibit B.) In two years, I made my way across the foundation of Florida writing: Marjory Stoneman Douglas’s River of Grass and Peter Matthiessen’s Shadow Country; Michael Grunwald’s The Swamp, John McPhee's Oranges, and Arva Moore Parks’s Miami; Pat Frank’s Alas, Babylon, and Denis Johnson’s Fiskadoro. (More on those over here.) I reread Zora Neale Hurston’s Their Eyes Were Watching God, and I dipped into poetry by Campbell McGrath, Elizabeth Bishop, Richard Blanco, and Donald Justice. Mia Leonin dazzled me and Alissa Nutting creeped me out. With increasingly deep breaths, I inhaled Carl Hiaasen’s entire God damned oeuvre until I felt like I was having a psychic asthma attack. That didn't quite scratch the itch, though, so I supplemented my reading with other art forms as well. It began last winter when I fell asleep reading Joy Williams's Florida Keys guide and had what I thought was a lucid dream about Islamorada, but was really just the beginning of a Bloodline episode playing as I woke up. I spent the next week plowing through the series. I followed Florida Man and Florida Woman on Twitter. I favorited more Craig Pittman tweets than I can count. I revisited Ace Ventura and There's Something About Mary. I watched the Billy Corben triumvirate of Cocaine Cowboys, Dawg Fight, and The U, and I celebrated the premier of The U Part 2 by getting drunk off Jai Alai that I'd bulk ordered across state lines from a liquor store in Dunedin. I tried to watch Ballers but that thing's like an even less deeply plotted Entourage, so...yeah. Meanwhile, I'll never be ashamed of how much DJ Laz and Trick Daddy I've played. (Before anyone asks: Yes, I have donated to the latter's Trickstarter.) I watched both Magic Mike movies because nothing's more quintessentially Tampa than the scene in the first one in which Channing Tatum scolds "Adam" for peeling off the protective plastic wrapper on his pick-up truck's dashboard, which would totally kill the thing's resale value. I read long, multi-part investigative news stories on widespread ecological destruction, for-profit college fraud, and government corruption. I contemplated buying prints from The Highwaymen and Clyde Butcher, but didn't have the bankroll to go through with it. Throughout this process, I've taken notes. To some extent, this was automatic. It's something I've always done as I've read. It's how I write, really: read first, take notes, and ideas for written work will follow. For this project, however, the Florida canon has become too big. Wrangling these disparate pieces would be like trying to limit the number of pythons invading the Everglades. It can't be done. Instead, I'm left with an unmanageable list of tidbits, direct quotations, and half-remembered ephemera lacking any semblance of a theme beyond their essential "Florida-ness." Whereas on smaller projects my notes could serve as navigational buoys capable of guiding me back to an overall idea, these manic, unorganized Florida notes are what would happen if Hansel & Gretel threw their bread crumbs into a woodchipper. To wit, here are the six latest entries I've saved in my 1,700 row Excel document: 40% of dogs who shoot people live in Florida. (Source) "A Miami suburb has been named as the 'bidet capital of America'" (Source) "Dead woman's life insurance funding husband's murder defense." (Source) "Florida man bit by shark catches shark, says he will eat it." (Source) "Cop fired for singing about killing with death-metal band." (Source) "How is Hendry County going to know how to handle massive monkey escapes during a hurricane?” (Source) Where does the rabbit hole end? Is it possible to prismatically marry all of these disparate rays of weirdness into a single, unified beam? This is all to say: for two years now, I’ve been steeped in Florida. Of course, as with every rule, it was broken from time to time. Or, I should say, I tried to break it. As anyone who’s driven on a highway can tell you: once you notice one type of car, it’s all you’ll see thereafter. Reading works outside my Florida canon almost always meant I’d identify an unexpected Florida connection in the process. When I read Marlon James’s remarkable novel A Brief History of Seven Killings, I encountered what is certainly the only mention of Miramar to have ever been awarded the Booker prize. When I read City on Fire, Garth Risk Hallberg’s massive, hyper-localized depiction of New York City, one of the details that stuck out most was a throwaway passage about one character’s estranged daughter living in…well, where do you think? More unsettling still: it's often felt like Florida is the one seeking me out, or beckoning me from afar. (And I'm not talking about my alma mater's alumni office calling for donations.) Maybe all of Florida is Area X. Indeed, this siren's song can transverse spacetime. Imagine my surprise when I first watched Drake's "Hotline Bling" video -- a video so devoid of geographic setting that it takes place in a series of sterilized geometric patterns -- and still find myself cognizant of the work's Florida influence. Seriously, read this. Truly, my year in reading has been two years in Florida, and as I look beyond to the years ahead, I see no reason to stop. Maybe I can't. Maybe the essence of Florida inhabits me like one of the invasive species that's inhabited it. There was an article this year about how scientists are baffled by a type of creeping, foreign mangrove invading Florida's swamps -- this colonizing plant to which sediments cling, muck becomes coated, and upon which land eventually forms. Nobody can explain the way the plants are acting, the way they're resisting efforts to contain their spread. They are the essence of Florida, though: all that persistence, all that infestation. Ultimately, the spirit of the Year in Reading series necessitates that I provide you all with specific titles to check out, and to fulfill that obligation, my choice is easy: the best book I read this year was Jennine Capó Crucet's debut collection of stories, How to Leave Hialeah. In it, Crucet explores the variety of experience around the Miami metropolitan area and amongst its residents -- its real residents; not the tourists, not the northeastern college kids who treat their stints at the University of Miami like a four-year Spring Break, and especially not the absentee condominium owners who’ve been driving up the city’s rents for years. No. Crucet grounds her stories within the mostly Cuban diaspora living in Hialeah and its surrounding environs: the community that, along with Miami’s extremely under-appreciated African-American and Afro-Caribbean residents, comprises the city’s beating heart -- the ones who give South Florida an identity immediately distinct from that of anywhere else in the state, or really anywhere else in America. In 11 stories, Crucet covers a remarkable amount of South Florida's characteristic breadth: the Ecstasy-rolling girl seeking after-hours ablution (and Celia Cruz) in a church, the family politics of Nochebuena invites, the man who died in a Chili's-related incident and left his roommate to deal with his pet ferret, and the children who find a body in a canal. She renders the complicated in-betweenness of immigrants straddling the Florida Straits between Cuba and their adopted homes, and how the younger generation oscillates between ambivalence and passion for the same. She examines these characters and their predicaments with closely-observed, generous authenticity, utilizing the vocabulary of their setting all the while: people's hands and faces are said to be "the color of dried palm fronds;" a family's closeness is described as being "like the heat in a car you've left parked in the sun;" a woman on the beach observes the way her date "leaned back on his elbows again, his nipples spreading away from each other, melting across his chest toward the pockets of his armpits." These are moving, visceral glimpses at the myriad Miamis and Miamians. Even if you've never set foot down here, they're not to be missed. The collection's title story -- and also its last -- tracks a young woman's early life in semi-autobiographical detail as she's raised in Hialeah, moves on to out-of-state college, and advances into a career beyond. It looks to the possibilities of a life outside of the one you know first, and it evokes a sense of wonder at the world beyond Florida. It also -- and, by now you can tell I relate -- makes clear that no matter how far away you go, you'll never really leave it behind. More from A Year in Reading 2015 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.
Welcome to a new episode of The Book Report presented by The Millions! This week, Janet and Mike have "Seven Millions Questions with Catie Disabato," author of The Ghost Network, out now from Melville House. Discussed in this episode: A Supposedly Fun Thing I'll Never Do Again by David Foster Wallace, The Picture of Dorian Gray by Oscar Wilde, Waiting for Godot by Samuel Beckett, Dublin, disputed pronunciations, self-hate, Tampa by Alissa Nutting, Anne Rice, Night Film by Marisha Pessl, Kesha, Janelle Monáe, Lady Gaga, ghosts. Cut for time from this episode: Mike's impromptu a cappella version of "We R Who We R," which was beautiful but now you'll never get to hear it, thanks a lot, JANET.
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 May. This Month Last Month Title On List 1. 1. The Beggar Maid: Stories of Flo and Rose 6 months 2. 2. Beautiful Ruins 3 months 3. 5. Bark: Stories 2 months 4. 3. The Son 2 months 5. 4. Just Kids 5 months 6. 8. Eleanor & Park 2 months 7. 6. Well-Read Women: Portraits of Fiction's Most Beloved Heroines 2 months 8. 9. The Good Lord Bird 2 months 9. - A Highly Unlikely Scenario, or a Neetsa Pizza Employee's Guide to Saving the World 1 month 10. 10. Jesus' Son: Stories 2 months In order to graduate to our Hall of Fame, books must remain on the Millions Top Ten for more than six months. The feat has only been accomplished by 82 books in the series's five year history. Within that subset of hallowed tomes, though, eight authors have attained an even higher marker of success: they've reached the Hall of Fame more than once. This accomplishment is remarkable for two reasons: 1) the Top Ten typically favors heavily marketed new releases, so it means that these eight authors have more than once produced blockbusters in the past few years; and 2) because Top Ten graduates must remain on our monthly lists for over half a year before ascending to the Hall of Fame, that means their books must be popular enough to have sustained success. (In other words, marketing only gets you far.) The names of these eight authors should be familiar to Millions readers, of course. They belong to some of the most successful writers of the past 25 years: David Foster Wallace* (Infinite Jest, The Pale King), Junot Díaz (The Brief Wondrous Life of Oscar Wao, This Is How You Lose Her), Stieg Larsson (The Girl with the Dragon Tattoo, The Girl Who Kicked the Hornet's Nest), David Mitchell (Cloud Atlas, The Thousand Autumns of Jacob De Zoet), Hilary Mantel (Wolf Hall, Bring Up the Bodies), Jonathan Franzen (The Corrections, Freedom), George Saunders (Tenth of December, Fox 8), and — as of this month — Dave Eggers (Zeitoun, The Circle). (*David Foster Wallace has the unique distinction, actually, of having two of his own books in our Hall of Fame in addition to a biography written about him.) Even money would seem to indicate that Alice Munro is poised to join this esteemed group next. Her Selected Stories graduated to the Hall of Fame shortly after her Nobel Prize was awarded in 2013, and her collection, The Beggar Maid, has been holding fast ever since. Meanwhile, the surprise re-emergence of Denis Johnson's Jesus' Son, which has been hovering at the bottom of the Top Ten lists these past two months, indicates that maybe he'll reach that group soon as well. His novella, Train Dreams, graduated in August of 2012. Changing gears a bit: the lone new addition to our Top Ten this month in the form of Rachel Cantor's mouthful of a novel, A Highly Unlikely Scenario, or a Neetsa Pizza Employee's Guide to Saving the World. The book, which was published last month, was featured in our Great 2014 Book Preview, during which time Millions staffer Hannah Gersen posed the eternal question, "It’s got time travel, medieval kabbalists, and yes, pizza. What more can you ask for?" What more, indeed? Near Misses: Little Failure: A Memoir, Americanah, Stories of Anton Chekhov, My Struggle: Book 1, and Tampa. See Also: Last month's list.
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 April. This Month Last Month Title On List 1. 6. The Beggar Maid: Stories of Flo and Rose 5 months 2. 9. Beautiful Ruins 2 months 3. - The Son 1 month 4. 8. Just Kids 4 months 5. - Bark: Stories 1 month 6. - Well-Read Women: Portraits of Fiction's Most Beloved Heroines 1 month 7. 10. The Circle 2 months 8. - Eleanor & Park 1 month 9. - The Good Lord Bird 1 month 10. - Jesus' Son: Stories 1 month Major shakeups to the April Top Ten were wrought by the graduation of six (count 'em) titles to our Millions Hall of Fame: The Goldfinch, Selected Stories, The Flamethrowers, The Luminaries, Draw It With Your Eyes Closed, and The Lowland. This "March 2014" class of ascendants is noteworthy not only for being the biggest single-month Hall of Fame class ever, but also for being one of the most highly-decorated classes in series history. How decorated? Let's run the tape: Donna Tartt's novel won this year's Pulitzer Prize for Fiction. Alice Munro won the last Nobel Prize for Literature. Rachel Kushner's novel was a finalist for the National Book Award. Eleanor Catton was the winner of last year's Man Booker Prize. And Jhumpa Lahiri's work was shortlisted for that same Man Booker Prize. Objectively speaking, this is the biggest and best class to date. Of course, here at The Millions, our readers have plenty of decorated authors on their "to be read" shelves, and as a result, our Top Ten doesn't so much rebuild — to borrow the parlance of a college football team — as it reloads. To wit: we're replacing a National Book Award finalist, a Pulitzer winner, and a Man Booker winner with two National Book Award winners, a Pulitzer finalist, and Lorrie Moore. Heading off this new crop of titles is Philipp Meyer's The Son, which was a Pulitzer finalist this past year, and which was met with critical acclaim for weeks after it was first published. It's a book that John Davidson described for our site as being, "a sprawling, meticulously researched epic tale set in southern Texas," and one that "leverages" a "certain theory of Native American societies ... to explore the American creation myth." Indeed, Meyer himself noted in his Millions interview that, "If there’s a moral purpose to the book, it’s to put our history, the history of this country, into a context." Additionally, the April Top Ten welcomes James McBride's The Good Lord Bird, which blew past the field at last year's National Book Awards to claim top prize overall. (The announcement of a movie deal soon followed.) For The Millions, our own Bill Morris sang the work's praises and he sang them loudly. The book, Morris wrote in his latest Year in Reading piece, is "one of the most astonishing, rollicking, delightful, smart and sad books I’ve read in all my life." Evidently you listened. New(ish) releases weren't the only new additions to our list this month, either. Sneaking into the tenth spot on our list was a classic collection from Denis Johnson, the winner of the National Book Award in 2007. It's a pity they no longer print the version that fits in your pocket. And what to say of Lorrie Moore, whose addition to the Vanderbilt faculty last Fall was overshadowed by news of Bark's imminent publication? Perhaps it's best if I let the final paragraph from Arianne Wack's profile of the author speak for itself: Exploring the demands of a life is the heart of Moore’s work, and the resonate truth of her prose has fueled a fevered desire for her books. Her characters don’t so much adventure through life as they do drift and stumble through it, making it a map of emotional landmarks, places you keep finding yourself in. One suspects that Moore is not simply writing a life, but cleverly recording yours. There is a commonality linking reader with character, an elastic boundary between her fiction and our reality that both reinforces and subverts one’s own sense of uniqueness. Coming away from one of her stories, one is reminded that we are all just doing this the best we know how. Or better yet, perhaps I should point you toward our own Edan Lepucki's summation of Moore's influence on a generation of American short story writers: We all came out of Lorrie Moore’s overcoat–or her frog hospital, her bonehead Halloween costume. If you’re a young woman writer with a comic tendency, and you like similes and wordplay, and you traffic in the human wilderness of misunderstanding and alienation, then you most certainly participate in the Moore tradition. Lastly, the April Top Ten welcomes two other newcomers as well. Entering the field in the eighth spot is Eleanor & Park, of which Janet Potter proclaimed, "Rarely is a realistic love story a page-turner, but when I got to the end I tweeted: 'Stayed up til 3 finishing Eleanor & Park by Rainbow Rowell. Would have stayed up forever.'" (The book is being made into a movie, by the way.) Meanwhile, a collection of portraits entitled Well-Read Women: Portraits of Fiction's Most Beloved Heroines enters the list in sixth place, likely owing to its prominence on Hannah Gersen's list of gift ideas from last year. Near Misses: Americanah, Little Failure: A Memoir, Stories of Anton Chekhov, A Highly Unlikely Scenario, or a Neetsa Pizza Employee's Guide to Saving the World: A Novel, and Tampa. See Also: Last month's list.