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The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
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The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
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Biography: The Incredible Expanding Form
A biography, according to my American Heritage Dictionary of the English Language, is “an account of a person’s life written, composed, or produced by another.” Yet, in recent years, a number of writers have been stretching this definition. Nowadays, human beings are no longer the sole suitable subjects for a biography, which is coming to mean an account of just about anything’s life, or history, or essence. These things include cities, literary forms, integers, currency, animals, and automobiles, to name a few.
Why are people writing biographies of such things now? Is it because contemporary writers are more imaginative and open-minded than their predecessors? Or are they simply more desperate for subject matter that hasn’t already been chewed to death? Or could it be some combination of the two?
While I don’t claim to know the answer, I do have a theory that the expanding field of worthy subjects for biographies is related to the expanding field of worthy subjects for serious academic and historical inquiry. The latest example of this high-low trend is Harvard history professor Jill Lepore’s current bestseller, The Secret History of Wonder Woman. It joins a growing shelf of serious books about such everyday objects as salt, cod, pop songs, and the pencil (and, yes, how to sharpen a pencil).
Here is a sampling of a half dozen things that have become the subject of biographies by writers who have stretched the conventional definition of the form, to sometimes stunning effect.
A City
Scott Martelle, a former reporter for The Detroit News, like so many people who grew up in Detroit or spent a sizeable chunk of time there, became fascinated by the place. The result is Detroit: A Biography, a book that makes no pretense of being an exhaustive history, but is, rather, “a book about life, and human nature, and about a city as a living and breathing thing.”
And it succeeds at telling the remarkable story of this city’s life, beginning with its “difficult childhood” as a French trading outpost in the early 18th century, its adolescence as a manufacturer of stoves, carriages and rail cars, its brawny adulthood as the center of the world’s automobile industry, and its surprisingly swift decline into decrepit old age. But Martelle, like many smart observers in recent years, does not write Detroit off, nor does he buy into the hackneyed theories about what caused the city to fall so far, so fast -- such tidy scapegoats as the bloody 1967 riot, or the troubled 20-year reign of Mayor Coleman Young. The city’s population peaked in 1950, Martelle notes, the point at which government policies, corporate business practices, and century-old racial animosities began to drain the city of jobs and population.
“White flight wasn’t the only force emptying Detroit,” Martelle writes. “During the 1950s the Big Three automakers and other leading industrial concerns embarked on massive decentralization plans to build factories closer to regional customer bases around the country, but also to try to reduce one of the main pressure on profit margins: the cost of labor.” White flight was also greased by aggressive highway building and entrenched (and racist) real-estate policies that benefited the suburbs at the expense of the inner city. In hindsight, there was almost no way for Detroit to fail to fail.
This biography ends on a cautiously hopeful note. The Motor City may be gone forever -- “Large-scale industry will not lead whatever comeback might be possible,” Martelle correctly writes -- but he sees signs of hope, including a newly vibrant downtown, many solid neighborhoods, an influx of entrepreneurs, urban farmers, and creative people, a growing sense that Detroit still matters and that it still has a chance.
Recent developments indicate Martelle’s optimism might not be misplaced. His book was published in 2011, two years before Detroit became the largest city to declare bankruptcy in American history. The city has just emerged from bankruptcy, far more quickly than expected, and with many valuable assets, including its coveted Institute of Arts, intact. Maybe a new chapter is opening in the life story of this impossibly tortured, impossibly resilient city.
A Literary Form
In setting out to write the life story of our age’s dominant literary form, Michael Schmidt decided to bypass critics, historians, and, yes, biographers. Instead, The Novel: A Biography is “mainly told by novelists and through novels,” or what Schmidt, echoing Ford Madox Ford, calls “artist practitioners.” The book is staggering -- it covers more than 700 years and runs to more than 1,000 pages. Jonathan Russell Clark tried to grasp the scope of Schmidt’s achievement in an essay here at The Millions, noting that a key to its success is the author’s avoidance of literary theory in favor of a dissection of literary influences. It proves to be a wise choice. And Schmidt, for all his erudition, isn’t shy about injecting his personal opinions, which contribute to this biography’s rumbustious vitality. He prefers David Foster Wallace’s essays to his novels; he disses Samuel Richardson and Michael Crichton; he’s very fond of Virginia Woolf, Hilary Mantel, and Martin Amis; he adores Miguel de Cervantes; and he sticks up for Stephen King. In a nice bit of symmetry, he concludes that the novel is every bit as elastic as the elastic notion of biography that inspired him to write this book. The novel’s great strength, in Schmidt’s view, is its slipperiness, its ability to change shapes, its capacity to absorb material from endless sources, including music, art, history, life, and, of course, other novels. In a final twist, Clark argues in his essay that this biography isn’t a biography after all: “The Novel, I believe, is a novel, the protagonist a murky, somewhat indescribable figure –--the ultimate unreliable narrator -- that Schmidt renders as real and human and flawed as anyone else before him.”
An Integer
In his anecdotal, entertaining book, Zero: The Biography of a Dangerous Idea, the mathematician Charles Seife describes his subject as “infinity’s twin,” adding that “zero is different from the other numbers. It provides a glimpse of the ineffable and the infinite. This is why it has been feared and hated -- and outlawed.”
Ranging over 30,000 years, from the carvings of prehistoric man to the musings of today’s astrophysicists, Seife’s biography notes that Babylonians were using zero 300 years B.C., and Alexander the Great carried zero to India. But the resistance to zero in the West was not overcome until the Renaissance, with the advent of the vanishing point in art, an innovation that could accommodate the twinned concepts of zero and infinity. Since then it has proven useful to everyone from accountants to people trying to envision black holes as stars packed into “zero space.”
Seife concludes, “All that scientists know is that the cosmos was spawned from nothing, and will return to the nothing from whence it came. The universe begins and ends with zero.” A worthy subject for a biography, indeed.
A Currency
Pity the poor almighty dollar. There are 760 billion of them circulating in the world, but two-thirds of them live far from home, in chilly places like the central bank vault in Seoul, South Korea. The dominant global currency since the end of the Second World War, the dollar has recently come under attack, most directly by the European Union’s solid euro and China’s newly muscular yuan, but also by shortsighted policies of the U.S. government. Things have gotten so dire that in his near-future satire, Super Sad True Love Story, Gary Shteyngart has Americans spending nearly worthless “yuan-pegged dollars.” The funny thing about the joke is that it isn’t all that far-fetched.
In Biography of the Dollar, his story of the rise and suddenly precarious position of this once-almighty currency, Wall Street Journal reporter Craig Karmin lays out an astonishing fact. Since the United States went off the gold standard in 1971, the dollar’s value has been built on the thinnest of tissues: faith in the idea of America. And we all know how flimsy that is.
Karmin notes that the dollar’s historical solidity has done much to lift many global economies. But there is a downside: “Enduring demand for the dollar has also encouraged the United States to run up enormous -- some would say unsustainable -- foreign debts and record deficits.” The U.S., he adds, pays $1 million each day for every man, woman, and child living in the country -- just to service its debt. Which leads Karmin to a scary conclusion: “Too many dollars may be circulating the planet and could be setting the greenback up for a big fall.” Which explains his subtitle: How the Mighty Buck Conquered the World and Why It’s Under Siege.
Be afraid. Be very afraid. And you might want to consider buying gold -- or euros or yuan -- while you’re at it.
An Animal
Writing biographies about non-human subjects, it turns out, is not an invention of our times. Back in the late 19th century, a prolific author, wildlife artist, and environmentalist named Ernest Thompson Seton wrote a delightfully weird novel that purported to reveal the inner life of a grizzly bear. The Biography of a Grizzly tells the story of Wahb, a grizzly cub in western Canada who watches as his mother and three siblings are gunned down by a bad bag of applesauce named Old Colonel Pickett, the cattle king. The orphaned Wahb nurses his own wound and lives a long, lonely, bitter life, so traumatized by the killing of his family that he never takes a mate. Wahb is a sensitive giant, besieged by enemies on every side, as when a beaver trap snaps shut on his paw: “He did not know what it was, but his little green-brown eyes glared with a mixture of pain, fright and fury as he tried to understand his new enemy.”
The book was preceded by Seton’s Wild Animals I Have Known, which portrayed wolves and other animals as compassionate individualistic beings. It became one of the bestselling books of its day, part of a wave of books advocating animal rights by featuring anthropomorphic wild animals that had emotions and were capable of learning, teaching, and reasoning. Anna Sewell’s Black Beauty and Jack London’s White Fang were part of the wave, which eventually inspired a backlash by critics who derided such books as “yellow journalism of the woods.” President Theodore Roosevelt, whose love for the outdoors was surpassed only by his love for slaughtering wild animals, weighed in with a magazine article in 2007, dismissing Seton and company as “nature fakers.” Teddy had nerve.
A Car
Earl Swift published a book this year called Auto Biography, which is, quite literally, the story of the life of a single car -- a 1957 Chevrolet station wagon. Swift, a pit-bull of a reporter, tracked down the man who bought the shiny new car in Norfolk, Va., in 1957, and every one of the dozen people who have owned it since, right up to a bruiser named Tommy Arney who rescued the car from the scrap heap and lovingly restored it to its original glory. The car’s owners, Swift writes, represent “a cross section of America in the late twentieth century and early twenty-first, all of them players in a single narrative for having sat behind the wheel of this Chevy.”
Swift’s ingenious narrative strategy reminds me of Marguerite Yourcenar’s in her novel A Coin In Nine Hands, which follows the journey of a 10-lira coin as it passes through the hands of nine very different people on a single day in Rome in 1933. These nine people, like the dozen owners of the '57 Chevy, are linked in ways they cannot explain or understand. But in the hands of a gifted writer, just about anything -- a car, a coin, a ring, a book, a smell, a memory -- can be an opening into the mysteries of human connectivity.
In closing -- and in the interest of full disclosure -- I should tell you that my interest in the elastic nature of biography dates back more than 20 years. In the early 1990s, I was driving a luscious lipstick-red and black 1954 Buick Special, a car that became my Muse and a central character in my first novel, which told the story of a fictional publicity campaign built around the sale of the 500,000th Buick in 1954, when Buick and rival Plymouth were locked in an actual sales war for the number three slot behind Chevy and Ford. Since the novel’s arc followed that particular Buick from conception to birth to infancy -- from the drawing board to the assembly line to the showroom to the first buyer’s driveway and finally onto a magazine cover -- I came to think of the novel as the life story of the car. And so my working title was Biography of a Buick.
As publication neared, my editor contacted Buick’s PR people in Detroit, hoping they might somehow help us promote the book. Instead they bristled, threatening legal action if a General Motors brand name appeared in the title. My editor had no desire to go up against GM’s legal department, and so he persuaded me, kicking and screaming, to change the title to Motor City.
With time I’ve grown to like the title, maybe because I ended up getting a consolation prize. The novel also sold in Great Britain and Germany, and my publishers there, unfazed by the huffing of GM’s legal department, stuck with my original title. So the book came out in England as Biography of a Buick and in Germany as Biographie eines Buick. I got to have it both ways, and the life story of my car was destined to have a life of its own.
A Year in Reading: Bill Morris
The big literary event for me this year was a dictionary upgrade -- from a 1974 first edition of The American Heritage Dictionary of the English Language to the new, improved fifth edition. The book itself is a thing of beauty: 2,084 colorfully illustrated pages between sturdy cream-colored covers. Among its many delights are the breezy, informative essays about how select words evolved. Here’s a sample Word History:
The word outlaw brings to mind the cattle rustlers and gunslingers of the Wild West, but it comes from a much earlier time, when guns were not yet invented but cattle stealing was. Outlaw can be traced back to the old Norse word utlagr, “outlawed, banished,” made up of ut, “out,” and log, “law.” An utlagi (derived from utlagr) was someone outside the protection of the law. The Scandinavians, who invaded and settled in England during the 8th through 11th century, gave us the Old English word utlaga, which designated someone who because of criminal acts had to give up his property to the crown and could be killed without recrimination. The legal status of the outlaw became less severe over the course of the Middle Ages. However, the looser use of the word to designate criminals in general, which arose in Middle English, lives on in tales of the Wild West.
I should also mention a wonderful discovery, Detroit City Is the Place to Be: The Afterlife of an American Metropolis, a new non-fiction book by fellow Detroit-native Mark Binelli. It's an overdue and hugely welcome corrective to the narrative of doom and decay that has been pouring out of Detroit, like toxic sludge, for the past 40 years. Binelli, a dogged reporter and deft writer, moved back home for two years to do research, and he came away believing that "Detroit's luck, despite such unimaginable obstacles, might still turn." It's a brave, smart, and important book.
More from A Year in Reading 2012
Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005
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Prescriptivists vs. Descriptivists: The Fifth Edition of The American Heritage Dictionary
1.
My dictionary lives on the floor beside my desk -- out of the way yet easy to reach when I need to consult it, which is something I do upwards of a dozen times a day. It's the first edition of The American Heritage Dictionary of the English Language, a Christmas present from my father way back in 1974. After nearly four decades of service, the old warhorse is literally coming apart, its spine broken, its red cover crumbling, its pages yellowing at the edges and breaking free.
Why such loyalty to a book? Part of the answer is that, like most writers, I'm a creature of iron habit. Familiarity and routine tend to breed contentment rather than contempt. But mere familiarity would not be enough to make a writer stick with a tool as crucial as a dictionary. Much more important are what I consider the American Heritage's three timeless virtues: its illustrations, its etymologies and, above all, its Usage Panel.
The illustrations in the first edition are black-and-white drawings, photographs, charts and maps, beautifully arrayed in the wide margins, a radical innovation in its day. The etymologies are concise, never fussy, frequently fascinating. (People who continue to consult unwieldy print dictionaries in our digital age, for instance, are distant descendants of Ned Lud(d), a late 18th-century English worker who destroyed textile machinery out of fear that this new technology would displace him and his fellow workmen.)
But the Usage Panel is what makes the American Heritage Dictionary unique and, for me, indispensable. For the first edition, the panel consisted of about 100 people, mostly professional writers and editors, mostly white, mostly male, with an average age of 68. They included Isaac Asimov, William F. Buckley Jr., John Ciardi, Malcolm Cowley, Langston Hughes, and Wallace Stegner; the women, outnumbered but not outgunned, included Pauline Kael, Margaret Mead, Marianne Moore, Katherine Anne Porter, and Gloria Steinem.
Their task, in a nod to the fact that language is a fluid and slippery substance, was to vote on the proper and improper usages of given words. The editors then tallied the ballots and used them as the basis for recommendations contained in several hundred Usage Notes. The notes make for enriching reading. Here, for instance, is the Usage Note on disinterested:
Disinterested differs from uninterested to the degree that lack of self-iinterest differs from lack of any interest. Disinterested is synonymous with impartial, unbiased. Uninterested has the sense of indifferent, not interested. According to 93 percent of the Usage Panel, disinterested is not acceptable in the sense of uninterested, though it is often thus employed.
The last sentence is telling: the Usage Panel was almost unanimous in its verdict, even though many people use the word incorrectly. In other words, as the makers of The American Heritage Dictionary see it, popular usage does not determine correctness; the consensus of knowledgeable people determines correctness.
The editor of the first edition, William Morris (no kin to me), made it clear in his introduction that the democratic methods of the Usage Panel should not be equated with a disdain for rules or an unwillingness to make value judgments. Unanimity of opinion was not the goal, and it was achieved just once -- when 100 percent of the panel rejected simultaneous as an adverb. The dictionary debuted in 1969 and was a direct rebuke to the far more freewheeling Webster's Third New International Dictionary, which had appeared in 1961. In a sense, the AHD was a line in the sand between prescriptivists like Morris, who insist that one of a dictionary's primary functions is to make informed distinctions between correct and incorrect uses of words, and descriptivists like Webster III's makers, who contend that a dictionary's function is merely to chronicle current practices. Here is Morris's description of the prescriptivist goal for The American Heritage Dictionary: "It would faithfully record our language, the duty of any lexicographer, but would not, like so many others in these permissive times, rest there. On the contrary, it would add the essential dimension of guidance, that sensible guidance toward grace and precision, which intelligent people seek in a dictionary." A good dictionary, he added, ought to be "a treasury of information about every aspect of words" and "an agreeable companion."
After nearly four decades of poring over my first edition of The American Heritage Dictionary -- it's a book that invites you to read it rather than just refer to it -- I can report that it has been a most agreeable companion.
2.
Maybe the reason that old dictionary and I got along so well for so long was because the man who gave it to me was a Usage Panel in his own right. My father was a newspaper reporter at The Washington Post when I was born, a gifted rewrite man who got nominated for a Pulitzer Prize along with Al Lewis, the cop reporter who would break the story of the Watergate break-in some 20 years later. In addition to being punctilious about grammar, usage, spelling, and style, my father was a lightning-fast typist. Ben Bradlee, a fellow Post reporter who went on to fame as the paper's editor, wrote in his 1995 memoir, A Good Life, that "Dick Morris was the fastest typist in the newsroom." To which my father, a proud man, sniffed, "I like to think I was the fastest writer in the newsroom."
He had every right to be miffed. He was a fine writer and a fine editor, owner of a vast and ever-expanding vocabulary. Not once in his 86 years did I see him stumped when asked to define or spell a word. He was a big fan of Strunk and White's The Elements of Style, and he shared their belief that a person's style of speaking and writing is an accurate barometer of that person's intelligence and worth. As E.B. White put it, "Style takes its final shape more from attitudes of mind than from principles of composition. This moral observation would have no place in a rule book were it not that style is the writer, and therefore what a man is, rather than what he knows, will at last determine his style."
My father shared Flaubert's belief that there is a right word for every situation, there are a great many wrong ones, and sometimes there is one perfect word. I can still remember the night in high school when I finished typing up a 17-page paper on my latest passion, Albert Camus. It was due the next morning, and I took it downstairs to present it to my father, terribly proud of myself. He read the opening sentence and immediately reached for the Cross pen in his shirt pocket. I looked on, aghast, as he circled a word in ink. He read the sentence aloud: "Before his premature death in a car crash in 1960 at the age of 46, Albert Camus had cemented his reputation as one of the most influential writers of the 20th century." Then my father said, "The word premature usually refers to a birth that takes place before the baby is ready. Untimely is the word you want if you're referring to a man's death at a relatively early age. Or possibly inopportune." He continued to carve up my paper with ink marks, then sent me back upstairs to rework it. I spent most of the night editing and retyping the mess. Of course I got an A+ for the paper. Far more important, I've never forgotten the difference between premature and untimely.
My father's insistence on precision and Strunk and White's emphasis on the importance of style are not the same as advocating slavish adherence to rules. Quite the opposite. While The Elements of Style contains many rules, in the end the thing that matters most to its authors is a writer's "ear," the ability to distinguish writing that sounds right from writing that sounds wrong. For this reason, many writers (the great Elmore Leonard among them) always read their stuff out loud to find out how it sounds. If it sounds awkward or clunky, it gets rewritten because good writing is music made of ink. To this end, the wise writer knows that rules are there for bending, or ignoring. Splitting infinitives, using the passive voice, stringing together adjectives, pairing none with a plural verb, starting a sentence with a conjunction, ending a sentence with a preposition -- those things are all against the rules, yet they're in every good writer's tool kit. The issue is knowing when and how to use them to make the writing sound right. The issue, in a word, is style.
3.
YOU ARE YOUR WORDS.
Those words, which my father and Strunk and White would have endorsed, appear on a refrigerator magnet that came with my copy of the new fifth edition of The American Heritage Dictionary. There is also an app (a $24.99 value) that allows one free download of the entire dictionary onto an iPad, iPhone, iPod, or Android. Alas, this Luddite doesn't own any of these devices, but it was reassuring to know that the makers of my new dictionary are prescriptivists, not technophobes.
The book itself is a thing of beauty: 2,084 pages between sturdy cream-colored covers, weighing nearly eight pounds (up from a little over five pounds for the first edition). The illustrations in the fifth edition are in color, and the word entries are in blue ink, which was jarring at first but quickly became pleasing to the eye. The new edition, like the first, contains an extensive appendix of Indo-European Roots, a sort of pre-history of English words. The Usage Notes have been expanded, and they're augmented by lists of Synonyms, notes on Our Living Language, and Word Histories, which are breezy, informative essays about how select words evolved. Here's a sample Word History:
The word outlaw brings to mind the cattle rustlers and gunslingers of the Wild West, but it comes from a much earlier time, when guns were not yet invented but cattle stealing was. Outlaw can be traced back to the old Norse word utlagr, "outlawed, banished," made up of ut, "out," and log, "law." An utlagi (derived from utlagr) was someone outside the protection of the law. The Scandinavians, who invaded and settled in England during the 8th through 11th century, gave us the Old English word utlaga, which designated someone who because of criminal acts had to give up his property to the crown and could be killed without recrimination. The legal status of the outlaw became less severe over the course of the Middle Ages. However, the looser use of the word to designate criminals in general, which arose in Middle English, lives on in tales of the Wild West.
And here's a note on Our Living Language:
Gung ho is one of many words that entered the English language as a result of World War II. It comes from Mandarin Chinese gonghe, the slogan of the gongye hezuoshe, the Chinese Industrial Cooperative Society. (The gong in gonghe means "work," while he means "combine, join.") Marine Lieutenant Colonel Evans F. Carlson (1896-1947) heard the expression and thought it was well-suited to the spirit he was trying to foster among his Marines, the famous "Carlson's Raiders." Carlson began to use it as a moniker for meetings in which problems were discussed and worked out, and his Marines began calling themselves the "Gung Ho Battalion." Gung ho soon began to be used to describe any person who shows eagerness, as it still is today. Other words and expressions that entered the English language during World War II include flak, gizmo, task force, black market and hit the sack.
For the fifth edition, the Usage Panel was doubled in size and made more inclusive in terms of gender, race, ethnicity, and specialty. In addition to writers and editors, the panel included scientists, scholars, linguists, translators, cartoonists, film directors, even a former U.S. senator and a Supreme Court justice. My guess is that the average age of the panelists is now closer to 48 than 68. The writers included Margaret Atwood, Harold Bloom, Roy Blount Jr., Junot Diaz, Joan Didion, Rita Dove, Frances FitzGerald, Jonathan Franzen, Henry Louis Gates Jr., Oscar Hijuelos, Jamaica Kincaid, Maxine Hong Kingston, Cynthia Ozick, Ann Patchett, John Sayles, David Sedaris, William T. Vollmann, and John Edgar Wideman. Among the panelists who died during the decade the dictionary was being put together were Molly Ivins, Leonard Michaels, and David Foster Wallace.
The fifth edition contains 10,000 new words that were not in the fourth (published in 2000), which contained 10,000 new words that were not in the third (published in 1992). Among the new entries are asshat (vulgar slang for a contemptible or detestable person), filk (a genre of music popular among devotees of science fiction and fantasy literature), and ollie (a skateboard maneuver). I knew what an ollie was, but I was delighted to learn its etymology: it's the nickname of Alan Gelfand (born 1963), the American skateboarder who developed the trick.
For all its many virtues, the fifth edition is not perfect. Its one glaring flaw is an introductory essay written by the chairman of the Usage Panel, Steven Pinker, a Harvard University linguist and cognitive scientist who is also an avowed descriptivist. In "Usage in The American Heritage Dictionary," Pinker writes, "(W)hen many speakers misuse a word on many occasions in the same way -- like credible for credulous, enervate for excite, or protagonist for proponent -- who's to say they're wrong? When enough people misuse a word, it becomes perverse to insist that they're misusing it at all."
What's that whirring noise I hear? Is it William Morris, who died in 1994, spinning in his grave? Pinker's argument is the very sort of "permissive" thinking Morris so vigorously decried in his introduction to the first edition. It's also the reason we get presidents like George W. Bush, who uttered gobbledygook like misunderestimate and said vulcanize when he meant Balkanize.
After his descriptivist, usage-determines-correctness salvo, Pinker goes on to disparage something he calls "the paradox of false consensus." (For some reason he calls this paradox bubba meises, which is Yiddish for "grandmother's tales," when the English expression "old wives’ tales" would have done the job.) The most notorious bubbe meise, Pinker claims, is the prohibition against split infinitives, which, as we have seen, is an old rule that skilled writers feel free to flout whenever it suits their needs. But Pinker sees something nefarious, even dangerous, in such rules. He writes:
How do ludicrous fetishes like the prohibition of split verbs become entrenched? For a false consensus to take root against people's better judgment it needs the additional push of enforcement. People not only avow a dubious belief that they think everyone else avows, but they punish those who fail to avow it, largely out of the belief -- also false -- that everyone else wants it enforced. False conformity and false enforcement can magnify each other, creating a vicious circle that entraps a community into a practice that few of its members would accept on their own...The same cycle of false enforcement could entrench a linguistic bubba meise as a bogus rule of usage. It begins when a self-anointed expert elevates one of his peeves or cockamamie theories into an authoritative pronouncement that some usage is incorrect, or better still, ignorant, barbaric, and vulgar.
Insecure writers are intimidated into avoiding the usage. They add momentum to the false consensus by derogating those who don't keep the faith, much like the crowds who denounced witches, class enemies and communists out of fear that they would be denounced first.
I'm still having trouble believing that such lame logic and tawdry sensationalism -- beware the witch hunt! watch out for Red-baiters! -- were allowed between the covers of this otherwise wonderful book. I can only guess that the editors were hoping that by including Pinker's gibberish they would defuse charges of elitism. If so, they've shown poor judgment and a surprising lack of respect for this dictionary's rich history, high standards and unapologetically prescriptivist leanings.
So go ahead and call me Cotton Mather or Joe McCarthy or, worse, an elitist. But I'm going to keep following the guidance of Ann Patchett, Cynthia Ozick, David Foster Wallace and their hundreds of elite colleagues who contributed to this new incarnation of The American Heritage Dictionary. It's one of the most agreeable companions any lover of the English language could hope to have.
Images courtesy of the author.
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