At the beginning of 2010 I was in Ukraine, and trying to understand what was going on there. Two contemporary historians, both dissidents, helped explain. Georgiy Kasianov writes in Ukrainian, Russian, and English; his history of post-independence Ukraine (in Russian) is a great and funny book that bravely resists the nationalist narrative pushed forward by the Ukraine-for-Ukrainians lobby. In English his edited volume, A Laboratory of Transnational History, is recommended. It includes an essay by John-Paul Himka, a Canadian historian of Ukrainian origin who has for a number of years kept up a lonely moral crusade against the nationalist elements of the Ukrainian diaspora in North America. You would think the margin for historical error in a territory and period as finite as Western Ukraine during the Second World War would be pretty thin; you’d be wrong.
I tend to read books in spurts. After Ukraine, I read a number of dystopian novels for an article I was writing. The best were Ishiguro’s Never Let Me Go and Houellebecq’s The Possibility of an Island. I preferred the Houellebecq. In fact, though Elementary Particles is still his best book, this one is his funniest. “In order to pass the time I told him the story of the German who ate the other German whom he’d met on the internet.” Very funny.
At this point, having settled again on American soil, I decided to figure out what was going on with our foreign wars. I read Rory Stewart’s amazing and funny book about walking through Afghanistan in the wake of the American defeat of the Taliban in late 2001 (The Places In Between), and then Megan Stack’s Every Man in This Village Is a Liar, which begins with her entering Afghanistan a bit earlier, right on the heels of the American invasion, tagging along with an Afghan warlord who will eventually try to sneak into bed with her. Stack’s book was so good that I could hardly believe it, so I read Dexter Filkins’ Forever War just to check. It was also very good. Forever War has more bombs exploding; Every Man has more of a comparative sweep.
At this point, almost without intending to (I was waiting for someone to give me their copy of Freedom), I read Ian Frazier’s funny, epic, surprising Travels in Siberia. Then I read Freedom, which is as good as everyone says it is. Reading Frazier and Franzen back to back underscored, first, that they have quite similar names, and, second, the deeply Midwestern quality of Freedom. There’s a great passage at the end of the Siberia book in which Frazier talks about how his father used to berate him, back in his Ohio childhood, for living such a sheltered existence and knowing nothing about the rest of the world. This is a uniquely American, perhaps American-suburban, prejudice–the idea that Ohio couldn’t possibly be further away from, say, Siberia. What Frazier points out, in his quiet, uninsistent way, is that the center of the most economically powerful nation on earth can’t pretend that it’s far away from anywhere, much less one of the world’s largest oil-producing regions, which is what Siberia is. It seems that a deep awareness of the truth of this–of the interconnection of the American suburbs and the rest of the world–is one of Franzen’s important contributions to American fiction and American self-understanding over the past ten years.
In June, my book of interviews about the financial crisis with a hedge fund manager was coming out, and I realized I still knew nothing about the financial crisis. I read as fast as I could to avoid humiliation. Many of the books were bad. Their authors had the difficulty of writing from another country–like the Ukrainian historian Kasianov, who writes partly for Russians–but in a language that the people in that other country (that is to say, us) didn’t know. So they could either pretend that we knew it already, or treat us like idiots. They did a bit of both. The Michael Lewis books–his newest, The Big Short, and his oldest, Liar’s Poker–stood out among all these for their clarity and wit, although I should add that I haven’t yet read John Lanchester’s I.O.U. or Yves Smith’s ECONned, both of which are supposed to be good.
When the HFM book came out, I did mostly manage to aovid humiliation–for example, by sleeping through a scheduled radio interview. But non-humiliation was not enough. I decided to get to the bottom of things by reading Capital. But I couldn’t understand it. I began to read around Capital–David Harvey’s Limits to Capital; Peter Singer’s Marx; Immanuel Wallerstein’s Historical Capitalism; Michael Harrington’s The Twilight of Capitalism; Edmund Wilson’s To the Finland Station. The only one I really got through (aside from the Wallerstein book, which is like 100 pages long because he uses no examples) is To the Finland Station. I’d inherited the notion somewhere or other that Wilson’s book wasn’t first-rate as intellectual or political history. This is untrue. Of all the secondary sources on Marx, it has been the most valuable to me. It will certainly always be the most entertaining. It gives a different kind of genealogy of Marx, through the French historians rather than the German idealists, and also it has a beautiful and sympathetic account of the relationship between Marx and Engels. Just a lovely book, almost as good as Parallel Lives.
At around this time, about a month ago–and still stuck about a third of the way through the first volume of Capital–I concluded that I would never understand Marx’s obsession with the concept of “price” until I went back to Adam Smith and the original formulation of the theory of price that Marx is taking issue with. So that is where you find me today, about a fifth of the way through the first volume of The Wealth of Nations. Maybe a quarter of the way.
Other great books I happened to read that came out in 2010 were Elif Batuman’s The Possessed; Sam Lipsyte’s The Ask; and Zachary Mason’s The Lost Books of the Odyssey. I recommend all three without reservation; they are instant classics. Another book I think everyone ought to read is Thomas Chatterton Williams’s Losing My Cool. It’s a complex, very honest, very entertaining memoir about a young man’s education that has not received anything like the serious consideration and discussion it deserves. And a final book I recommend from 2010 is And the Heart Says Whatever, by my very witty girlfriend, Emily Gould.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
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There are many ways to measure a year, but the reader is likely to measure it in books. There was the novel that felt as fresh and full of promise as the new year in January, the memoir read on the bus to and from work through the grey days of March, the creased paperback fished from a pocket in the park in May, the stacks of books thumbed through and sandy-paged, passed around at the beach in August, the old favorite read by light coming in the window in October, and the many books in between. And when we each look back at our own years in reading, we are almost sure to find that ours was exactly like no other reader’s.
The end of another year brings the usual frothy and arbitrary accounting of the “best” this and the “most” that. But might it also be an opportunity to look back, reflect, and share? We hope so, and so, for a seventh year, The Millions has reached out to some of our favorite writers, thinkers, and readers to name, from all the books they read this year, the one(s) that meant the most to them, regardless of publication date. Grouped together, these ruminations, cheers, squibs, and essays will be a chronicle of reading and good books from every era. We hope you find in them seeds that will help make your year in reading in 2011 a fruitful one.
As we have in prior years, the names of our 2010 “Year in Reading” contributors will be unveiled one at a time throughout the month as we post their contributions. You can bookmark this post and follow the series from here, or load up the main page for more new Year in Reading posts appearing at the top every day, or you can subscribe to our RSS feed and follow along in your favorite feed reader.
Stephen Dodson, coauthor of Uglier Than a Monkey’s Armpit, proprietor of Languagehat.
Fiona Maazel, author of Last Last Chance.
John Banville, author of The Sea, The Infinities, and many other books.
Al Jaffee, legendary Mad Magazine writer and cartoonist.
Lionel Shriver, author of So Much for That and several other books.
Emma Rathbone, author of The Patterns of Paper Monsters.
Joshua Cohen, author of Witz.
Jonathan Dee, author of The Privileges and several other books.
Jennifer Gilmore, author of Something Red.
Stephen Elliott, editor of The Rumpus and author of The Adderall Diaries.
Dan Kois, author of Facing Future.
Bill Morris, Millions staff writer and author of Motor City.
Mark Sarvas, author of Harry, Revised, proprietor of The Elegant Variation.
Emma Donoghue, author of Room and several other books.
Margaret Atwood, author of Year of the Flood and many other books.
Lynne Tillman, author of American Genius and several other books.
Hamilton Leithauser, of The Walkmen.
Padgett Powell, author of The Interrogative Mood and other books.
Anthony Doerr, author of Memory Wall and other books.
Paul Murray, author of Skippy Dies.
Tom Rachman, author of The Imperfectionists.
Aimee Bender, author of The Particular Sadness of Lemon Cake and several other books.
Philip Lopate, author of Notes on Sontag and several other books.
Sam Lipsyte, author of The Ask and other books.
Julie Orringer, author of The Invisible Bridge.
Joseph McElroy, author of Women and Men and several other books.
Alexander Theroux, author of Laura Warholic and several other books.
Laura van den Berg, author of What the World Will Look Like When All the Water Leaves Us.
Emily St. John Mandel, Millions staff writer and author of Last Night In Montreal and The Singer’s Gun.
John Williams, founding editor of The Second Pass.
Edan Lepucki, Millions staff writer, author of If You’re Not Yet Like Me.
Ed Champion, proprietor of edrants.com and The Bat Segundo Show.
Maud Newton, proprietor of maudnewton.com.
Lorin Stein, editor of The Paris Review.
Tom McCarthy, author of C and Remainder.
Keith Gessen, author of All the Sad Young Literary Men and founding editor of n+1.
Rosecrans Baldwin, author of You Lost Me There and co-founder of The Morning News.
Paul Harding, author of Tinkers.
Sigrid Nunez, author of Salvation City and several other books.
Matt Weiland, editor of The Thinking Fan’s Guide to the World Cup and State by State.
Allegra Goodman, author of The Cookbook Collector and several other books.
Adam Levin, author of The Instructions and several other books.
Michael Cunningham, author of By Nightfall, The Hours and several other books.
Sam Anderson, book critic, New York magazine.
Richard Nash, of Cursor and Red Lemonade.
Seth Mnookin, author of Hard News and The Panic Virus.
Joanna Smith Rakoff, author of A Fortunate Age.
Marisa Silver, author of The God of War and other books.
David Gutowski, of Largehearted Boy.
Emily Colette Wilkinson, Millions staff writer.
Jenny Davidson, author of Invisible Things and other books.
Scott Esposito, proprietor of Conversational Reading and editor of The Quarterly Conversation.
Carolyn Kellogg, LA Times staff writer.
Anne K. Yoder of The Millions.
Marjorie Kehe, book editor at the Christian Science Monitor.
Neal Pollack, author of Stretch: The Unlikely Making Of A Yoga Dude and other books.
Danielle Evans, author of Before You Suffocate Your Own Fool Self.
Allen Barra writes for the Wall Street Journal and the Daily Beast.
Dorothea Lasky, author of Black Life and AWE.
Avi Steinberg, author of Running the Books, The Adventures of an Accidental Prison Librarian.
Stephanie Deutsch, critic and historian.
Lydia Kiesling, Millions staff writer.
Lorraine Adams, author of The Room and the Chair.
Rachel Syme, NPR.com books editor.
Garth Risk Hallberg, Millions staff writer and author of A Field Guide to the North American Family.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
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Year in Reading logo and graphics by Michael Barbetta
This year’s New York Times Notable Books of the Year list is out. At 100 titles, the list is more of a catalog of the noteworthy than a distinction. Sticking with the fiction exclusively, it appears that we touched upon a few of these books as well:
The Ask by Sam Lipsyte (our profile of Lipsyte, a most anticipated book)
Bound by Antonya Nelson (a most anticipated book)
Foreign Bodies by Cynthia Ozick (a most anticipated book)
Freedom by Jonathan Franzen (our review, an all-female book club reads Freedom, taking down B.R. Myers’ take on Freedom, “Is Big Back?,” the Franzen cover of Time, a Millions Top Ten book, a most anticipated book)
Fun With Problems by Robert Stone (our review, a most anticipated book)
The Girl Who Kicked the Hornet’s Nest by Stieg Larsson (The Stieg Larsson takedown, a most anticipated book, a Millions Top Ten book)
Great House by Nicole Krauss (National Book Award finalist, a most anticipated book)
I Curse the River of Time by Per Petterson (a most anticipated book)
The Imperfectionists by Tom Rachman (our review)
The Invisible Bridge by Julie Orringer (“20 More Under 40,” a most anticipated book)
The Long Song by Andrea Levy (Booker shortlister)
The Lotus Eaters by Tatjana Soli (Tatjana Soli’s writing at The Millions)
Matterhorn by Karl Marlantes (“Is Big Back?“)
Memory Wall by Anthony Doerr (our review, a most anticipated book)
The Privileges by Jonathan Dee (The Millions interview)
Room by Emma Donoghue (our review, Booker shortlister, a Millions Top Ten book)
Selected Stories by William Trevor (a most anticipated book)
Solar by Ian McEwan (a most anticipated book)
Super Sad True Love Story by Gary Shteyngart (our review, a most anticipated book, a Millions Top Ten book)
The Surrendered by Chang-Rae Lee (a most anticipated book)
The Thousand Autumns of Jacob de Zoet by David Mitchell (a morning with David Mitchell, our review, a Millions Top Ten book, a most anticipated book)
To the End of the Land by David Grossman (our review)
A Visit from the Goon Squad by Jennifer Egan (our profile of Jennifer Egan, our review, a Millions Top Ten book, a most anticipated book)
What Becomes by A.L. Kennedy (a most anticipated book)
On a Saturday night in April, Sam Lipsyte is at KGB Bar in Manhattan, reading from his new novel The Ask, which everyone from book critics to blogosphere lit nerds have heaped with praise in the eight short weeks since its publication. Each time Lipsyte mentions the character named Vargina, the crowd erupts with cackles and guffaws.
Fast forward to the present. Exactly six months after the release of The Ask, sales are strong, it sits proudly on featured tables in bookstores, and every lit nerd that you know is raving about it. They—and everyone else gaga over The Ask—fall for the novel’s voice in a matter of sentences.
That voice comes from the narrator and protagonist of The Ask, Milo Burke, and many have confused this entertaining font of rage for Lipsyte himself. Lipsyte is a far cry from his antihero, but that’s why they call it fiction. And this time, Lipsyte’s fiction has catapulted him to a height of fame and success that he had never reached before, though his longtime readers insist the talent was always there, waiting to get noticed.
Milo is an angry fuckup who is disillusioned with the arts fundraising department of the New York college (he calls it “Mediocre University”) at which he works and, by the end of the first chapter, has already proven it by giving one spoiled arts brat a verbal beating that Milo tells us “there is no point in repeating.” The onslaught gets him fired, though he is soon given a second chance dependent on his success with the “ask,” which is business lingo for a rich donor.
The big ask turns out to be an old college friend, now turned wealthy sleaze, named Purdy Stuart. Milo must wring Purdy dry for a huge donation to the Mediocre U. arts program. Poor Milo—and the reader, along for the calamitous ride—spends the rest of the book leaping through hoops for the potential donor.
Milo speaks in a furious invective that is somehow as endearing as it is caustic and vulgar. His lexicon is the resentful vocabulary of a failure—one with a hilariously dirty mouth. On the page, it reads like a personal screed, angrily dictated into a recorder. When read aloud, it’s even more effective. People at his readings listen with devilish grins, like they’re being naughty, indulging in a bit of shared misbehavior.
Lipsyte reads from The Ask in a different voice from his own, loud and declarative, imitating the different voices perfectly. With each raucous sentence, tangled in swear words and name-calling, Lipsyte brings his character to life, and readers form a real relationship with Milo.
Milo’s creator is different. He’s calm, collected, and friendly. He converses in a soft, earnest tone. He makes direct eye contact and holds it. He’s an easy, fuzzy presence. But in congratulating his newest work—caught up in their love for its protagonist—reviewers seem to have taken Milo as a direct surrogate for Lipsyte himself. “Yeah, some people seem to think I’m Milo,” says Lipsyte with gentle reproach but no sign of frustration. “A lot of people thought I was the guy in the last book, too. And they thought I was the guy in some of the short stories.”
A review of The Ask by Jennifer Schuessler in the New York Review of Books garnered particular frustration from Lipsyte’s literary peers. Schuessler calls Lipsyte the “poet laureate of overeducated American loserdom.” Similarly, a New York Magazine profile begins by encouraging “you schmoes of America” and “sad sacks in sweaters” (those with “rampant neck beard[s]”) to, “rally ‘round your bard!” The tone of pieces like this suggests a presumption that Lipsyte is one of the very men about whom he writes—that his characters are all slightly altered stand-ins for Sam Lipsyte.
“As far as some reviewers are concerned,” says Alex Abramovich, one of Lipsyte’s best friends, “Sam is modeling each character after his life. And that’s a stupid conclusion.” Abramovich and his friends welcomed Lipsyte into their circle with open arms, and are, in a sense, the reason he moved to Astoria.
Lipsyte is a large man, a bit soft around the edges, but he doesn’t seem out of shape. As it turns out, he was a star shot-putter in high school. “Look,” Abramovich sums up, “the main difference between Sam and all of his characters is that Sam has never been a loser at anything he’s ever done in his life. Have you read his sentences? He’s clearly one of God’s winners on this earth. He’s just too fucking charming to be a loser.”
To be fair, there are surface similarities between Lipsyte and his character. Both men are Jewish. And the “Jewish question,” as it turns out, hits a nerve for Lipsyte in curious ways.
“I’m not observant at all, but I think about being a Jew all the time,” says Lipsyte. “And I write characters that have a similar condition.” Indeed, The Ask isn’t really a Jewish novel, but there are, throughout its pages, tinges of the Jewish experience. For one thing, Milo routinely kvetches over his decision to not have his son circumcised.
Meanwhile, his son, Bernie, has his own obsession—more age-appropriate—with the extra tubing. “Do superheroes have foreskins?” he asks his dad. “Does Goliath have a foreskin?” Lipsyte, as is his talent, turns a meaningful family moment into comedy just in time: “Not for long,” Milo answers. “Not when David’s done with him.” When Bernie asks who David is, Milo tells him, “A foreskin collector.”
But apart from these brief mentions—allusions to Milo’s inner Jew—the character does not outwardly act like one of the tribe, and Lipsyte isn’t interested in writing a Jewish novel. “It was done,” he declares. “There was a whole generation that dealt with that. I’m not going to say, Oh, I’m Jewish and people really like books about Jewish stuff, so I should write something that has to do with Jewish stuff. That’s not really going to get you anywhere.”
Nevertheless, there are those who see deeply entrenched Jewish themes in Lipsyte’s work. Once, a decade ago, a friend of his ended up on a panel for some sort of Jewish literary prize. Lipsyte’s book of short stories, Venus Drive, was nominated, and according to his friend, one of the panelists said during a discussion, “Why are we even considering this one? There’s barely any Judaism in it.” Lipsyte’s friend responded: “Are you kidding me? It’s like the most Jewish thing I’ve ever read.”
Another link between Lipsyte and Milo: they both have five-year-old sons. In The Ask, Milo says of his kid: “Bernie was a beautiful boy. Good thing, too, as he’d become an expensive hobby. Preschool, preclothing for the preschool. Then there were the hidden costs, like food.” When this line is read aloud to Lipsyte, even he can’t help but laugh. Yeah, he wrote it, but it’s damn funny. Yet suddenly, he gets very serious and says, “I think Milo also deeply loves his son.”
When the progressive, hippie-taught “school” that Bernie attends shuts down and Milo must spend entire days with Bernie, his fatherly love does shine through. Lipsyte has fond memories of walking through Astoria with his own son, early inspiration for scenes in which Milo strolls through Queens with Bernie, chiding him to stop playing with trash from the street.
Lipsyte says that someone once asked him if having kids would change his writing. “Well, I hope so,” he told the guy. “It would be kind of weird if it didn’t.” He chuckles, remembering this.
Abramovich feels that Lipsyte’s affability is a main cause of his friend’s newfound mega success. “Sam had a huge log built up of people who adore him,” he says. “He’s just the warmest, most generous and likeable person. And this isn’t boilerplate bullshit; this is true. One thing is that he never says ‘no’ to anyone. But another is that he’s really doing the work.”
Commitment is what the young writer Tao Lin, who has done readings with Lipsyte, also points to. “Everyone I know feels that he really ‘went for it’ with this book,” Lin wrote over Google chat in May. “Which explains the ‘mad coverage’ it’s getting.”
Lipsyte has earned a stellar reputation among other writers, even if it took reviewers longer to hop on board. On the evening he read at KGB, the author John Wray, who has been lauded for Lowboy, read before him. Wray announced, “I was going to read from Lowboy until I realized I’d be reading with Sam Lipsyte, and well, he’s very funny. So I’m going to read something a little goofier, with aspirations toward comedy.” His offering wasn’t nearly as funny as what Lipsyte read, but it was a valiant attempt.
Lipsyte acknowledges the connections he has to Milo. “I think we have many selves and there may be a version of me inside that sort of has the same thoughts as him,” he says about his crude hero. “I don’t necessarily wallow in the bitterness, but his way of looking at the world isn’t alien to me. I think he’s often pretty clear-sighted.”
Then, inevitably, he teases himself: “Maybe I’m just making up friends for me to have.” But the happy truth is that he doesn’t need to make up friends anymore. For most of his career, he struggled to get noticed. Although The New York Times reviewed all of his books, the consensus is that he was still under the radar, though Lipsyte responds playfully, “I always wonder where the radar is located, ya know?”
Finally, with The Ask, Lipsyte has struck a chord. And people aren’t just praising the book, they’re interested in him as well; twelve major magazines interviewed Lipsyte in March and April. Ever humble, he tries to deny an increase in press. “I’ve always had great response from the people whose opinions I’ve cared about,” he insists. “So in my mind, my work was getting noticed.” Soon enough, though, he folds: “Okay, I’ve gotten more mainstream recognition for this book than my others combined. It’s been a leap in coverage and conversation.”
What excited Lipsyte the most in post-Ask coverage of him has been the fact that in a People magazine feature on which books celebrities are reading, Michael J. Fox mentioned The Ask. Fox said he was enjoying it. “I grew up watching Family Ties, so to see 20-something years later that Michael J. Fox is reading the book, well, I think I can retire now.” Lipsyte is positively giddy when he says this.
Why did The Ask finally earn him such success? Why not his novels Home Land or The Subject Steve, or his collection of short stories, Venus Drive? “The Ask might be different [from his past work] in that there’s a family at the core of it, a family that’s come apart,” speculates Ben Marcus, a colleague and friend of Lipsyte’s in Columbia’s Creative Writing department. “Perhaps that draws more people in, feels more universal.”
Lipsyte himself is more hard-pressed to wonder about the winning combination. “I think that what happened with this book is that I’ve been working for 15 years, and building something of a readership, and good will among some critics, and I benefited from that,” he guesses. “And the rest is sort of timing.”
In a period of economic stress, political strife, and general apathy, The Ask nails the current malaise, and not in a preachy, tiresome way. It handles the issues that are bugging everyone by acknowledging just that—they’re bugging us. In the case of Milo Burke, they’re pissing him off.
Yet if Milo were just pissed off, he’d be a more grating, whiny character. Instead, his anger is conveyed with humor. “Sam’s humor isn’t sitcom humor,” says Abramovich. “You don’t come up with some wacky situation. His humor is gnarly syntax and juxtapositions, and that’s a hard sell. I think it’s a happy miracle that he’s gotten as far as he has.”
Whether it’s the family focus, his many years’ worth of strong relationships, or the humor that is to thank, Lipsyte’s number has been called at last. What has emerged is a writer who cares about fiction, in a literary climate that continually seems to cast it aside.
Lipsyte read Reality Hunger—perhaps the year’s most discussed nonfiction release, in which David Shields suggests shattering labels like “memoir” or “novel” and simply calling everything a “book”—but Lipsyte is not concerned about the future of the novel. “There’s this constant debate about the novel. Is it dead, has technology rendered it dead, but the novel is a technology,” says Lipsyte. “What the novel can still do that other outlets can’t do is operate on a certain level of language and consciousness and association. There’s so much to do there, and there are still so many possibilities.”
Sam Lipsyte, then, is less ordinary than he seems at first glance. He takes language and twists it, tortures it. He makes you laugh until it hurts and makes you nearly cry, often in the same paragraph that a few sentences earlier had offended you, outraged you. He isn’t sure which other contemporary writers are writing the same kind of books.
“I’m in a tradition,” he says with a furrowed brow, “but I don’t know who else I belong with right now. Maybe I’m the beginning of a new trend.” Whether or not it’s a new trend, Lipsyte is doing something new, bringing something fresh and valuable to the literary table—something seriously funny. And his next work, a book of short stories for FSG, will almost certainly be welcomed with rave reviews.
Correction: Originally, this piece incorrectly stated that Lipsyte had once worked at the New Yorker, and that he was half-Jewish. Those statements have been corrected. We apologize for the error.
[Image credit: Ceridwen Morris]
A good week for new releases: John McPhee’s new, more personal collection of essays, Silk Parachute, Sam Lipsyte’s The Ask, and, of course, our own Sonya Chung’s debut Long for This World. All three of these books were on our “Most Anticipated” list for 2010. New in paperback today is Colm Tóibín’s Brooklyn.
Update: Don’t miss our newest “Most Anticipated” list, highlighting books for the rest of 2010 and beyond.
There’s something for every lover of fiction coming in 2010, but, oddly enough, the dominant theme may be posthumous publication. Roberto Bolaño’s relentless march into the canon has inured us to the idea of the bestseller from beyond the grave (and of course, for as long as there have been literary executors, this has been nothing new), but beyond the four(!) new books by Bolaño we also have have potentially important works by the likes of Ralph Ellison and Henry Roth, intriguing new books from Robert Walser and Ernst Weiss, a guaranteed bestseller from Stieg Larsson, and, looming in 2011, the final, unfinished novel of David Foster Wallace. Perhaps, amid all this, it is a relief to hear that we have many exciting books on their way from those still with us, including Elizabeth Kostova, Joshua Ferris, David Mitchell, Jennifer Egan, Don DeLillo, Ian McEwan, Yann Martel, and many others.Special thanks to The Millions Facebook group for helping us compile this list.January (or already available)
Three Days Before the Shooting by Ralph Ellison: Fitting that this book preview starts off with a posthumous novel. Ellison’s unfinished opus will not be the the only posthumous work to grab readers attention in 2010, but it will be perhaps the one with the most history attached to it and maybe, in the accounting of those who manage the canon, the most important. Ellison famously struggled to complete a second novel after the landmark publication of The Invisible Man. After Ellison’s death, Juneteenth was cobbled together by his literary executor John Callahan and met with decidedly mixed reviews. But, as a 2007 article in the Washington Post argues, Three Days Before the Shooting, the result of years of work by Callahan and co-editor Adam Bradley, was always meant to be the true Ellison second novel. Readers will soon find out if it’s the masterpiece they’ve been waiting for for decades.The Unnamed by Joshua Ferris: If your debut effort (in this case, Then We Came to the End) gets nominated for a National Book Award, you are on the express train to literary stardom. Quickly, however, focus shifts to the sophomore effort. For Ferris, early signs look good. Word is that The Unnamed is dark in tone, darker than and by all early accounts dissimilar to TWCTTE. The protagonist Tim’s affliction is that he’s unable to stop walking. In an early review, Bookforum likes it and says “Ferris possesses an overriding writer’s gift: a basic and consistent ability to entertain while spurring engagement.” See also: Joshua Ferris writing at The MillionsMonsieur Pain by Roberto Bolaño: The frenzy of posthumous Bolaño publication will continue in 2010 with as many as four (that I was able to find) books by the Chilean author published. Bolaño has been unmistakably one of the biggest publishing stories of the last few years, and publisher New Directions has been capably and speedily adding title after title to the Bolaño shelf at your local bookstore. Monsieur Pain (January) is about a Peruvian poet with a chronic case of hiccups. Antwerp (April) has been described as both a prose poem and a crime novel. The Return (July) is a new volume of short stories, as is The Insufferable Gaucho (August?), which was apparently the last book Bolaño delivered to a publisher. And look for more Bolaño in 2011. Garth may need to start updating his Bolaño Syllabus on a quarterly basis.Fun with Problems by Robert Stone: Fun with Problems will be Stone’s first collection of short fiction in twelve years. And his first book since his 2007 memoir Prime Green: Remembering the Sixties (see Garth’s review).Ordinary Thunderstorms by William Boyd: Boyd’s novel is already out in the UK where it has been receiving characteristically good notices. “There are tantalising hints of a broader ambition in William Boyd’s wide-ranging new thriller,” said The Guardian. The book is ostensibly about a man on the run, but Boyd, in an interview with Edinburgh Festivals alluded to the depth that The Guardian picked up on, “It’s a chase. And the drive is that the man is being hunted. But like the last four of my novels, it’s also about identity, about what happens when you lose everything that makes up your social identity, and how you then function in the modern city.”The Swan Thieves by Elizabeth Kostova – The follow-up to Kostova’s big selling The Historian (the first ever first novel to debut at #1 on the New York Times bestseller list) promises to be just as densely detailed as its predecessor, weighing in at a hefty 576 pages. Recently departed Kirkus has some quibbles with the plot machinations, but says “lush prose and abundant drama will render logic beside the point for most readers.” PW adds “The Swan Thieves succeeds both in its echoes of The Historian and as it maps new territory for this canny and successful writer.” See Also: Elizabeth Kostova’s Year in ReadingIn January, Archipelago Books will publish a translation of Ernst Weiss’ Georg Letham: Physician and Murderer some 70 years after the novel’s appearance in German. Enthusiasts of German-language literature have compared Weiss favorably with his contemporary Thomas Mann and his friend Franz Kafka, but he has remained something of an unknown on this side of the Atlantic. Already, Joel Rotenberg’s translation has begun to remedy this neglect. An excerpt appeared in A Public Space a while back. (Garth)February
Point Omega by Don DeLillo: Anticipation for DeLillo’s forthcoming book has been decidedly truncated. Publisher Scribner first tweeted about DeLillo delivering the manuscript in June, and the book will hit shelves a scant eight months later. One reason for the quick turnaround might be the book’s surprising slimness, coming in somewhere between 117 pages (says PW) and 128 pages (says Scribner). Imagine: reading an entire DeLillo novel in an afternoon, or perhaps just over lunch. So will the book’s slight profile belie some interior weightiness? A recently posted excerpt may offer some clues, and PW says “Reading it is akin to a brisk hike up a desert mountain—a trifle arid, perhaps, but with occasional views of breathtaking grandeur.”Reality Hunger: A Manifesto by David Shields: We’ve already discussed Shields’ forthcoming “manifesto” quite a lot at The Millions. It was first noted, in glowing terms, by Charles D’Ambrosio. This prompted me to dig deeper in a longer look at the book. From my sleuthing, and noting blurbs by J.M. Coetzee, Jonathan Lethem, and others, I posited “the intriguing possibility that a book of ideas will capture the popular interest [in 2010].” The book now sits on my desk, and while haven’t yet jumped in with both feet, I can report that it is both structurally (a lettered and numbered organization scheme whose logic is not immediately discernible) and stylistically (deep thoughts, reminiscences, aphorisms, and pop culture nuggets abound) unique. It will be interesting to see if readers decide the book coalesces into a successful whole. This just in – British publisher Hamish Hamilton reports that Zadie Smith will be writing up the book in The Guardian soon. See Also: David Shield’s Year in ReadingThe Infinities by John Banville: Banville follows up his Booker-winning effort The Sea with a novel with a rather unique conceit: it is narrated by the god Hermes. The reviews hint at further oddities. In The Guardian, for example, “Old Adam, a physicist-mathematician, has solved the infinity problem in a way that’s not only led to some useful inventions – cars that run on brine, for example – but also proved the existence of parallel universes, a category that includes the one he inhabits. In this novel, Sweden is a warlike country, and evolution and relativity have been discredited.”Union Atlantic by Adam Haslett: Haslett made a big splash in 2002 when his debut effort – a collection of short stories called You Are Not a Stranger Here – was a finalist for the National Book Award and the Pulitzer Prize. Union Atlantic, his first novel, takes the depths of the recent financial collapse as a backdrop (which explains why a work of literary fiction is getting notice from publications like American Banker). PW gave it a starred review and insinuates it might be a seminal novel of that particular historical moment. Esquire recently published the novel’s prologue. It begins, “Their second night in port at Bahrain someone on the admiral’s staff decided the crew of the Vincennes deserved at least a free pack of cigarettes each.”March
Solar by Ian McEwan: McEwan’s new novel was discussed extensively in Daniel Zalewski’s New Yorker profile of McEwan in February 2009. More recently, the magazine published an excerpt from the novel. The book’s protagonist is a Nobel Prize-winning physicist, and it appears that the book’s chief drama will arise in his becoming embroiled in the climate change “debate.” The book is also being called a satire, but, to the extent that several of McEwan’s books have elements of satire, it’s unclear whether Solar will be much of a departure for McEwan. The excerpt in the New Yorker would seem to indicate it’ll be a typical, and probably quite good, effort.The Ask by Sam Lipsyte: Lipsyte had a breakout hit with Home Land in 2005. His follow-up novel was reviewed recently in The Quarterly Conversation, which says “let’s be frank: this is a hard novel to review. The Ask makes for your heart with its claws so efficiently that it leaves you torn and depleted. How are you to review a book that simply frightens you?” Ultimately, TQC decides The Ask “isn’t quite as good as Home Land. The latter was nearly perfect in idea and execution—an ’80s high-school movie gone sick with nostalgia for its own John Hughesian past. The Ask is more generationally diffuse. While just as snot-blowingly funny as its predecessor, The Ask is more devastating in its pitilessness.”The Surrendered by Chang-Rae Lee: Bookdwarf read this one recently and says Lee “offers no easy endings or heartwarming coming-together, instead bringing to life a powerful, unpredictable, and occasionally painful story.”Burning Bright by Ron Rash: Rash’s follow-up to Serena is a collection of stories. The book’s title story appeared in Ecotone in 2008.One More Story: Thirteen Stories in the Time-Honored Mode by Ingo Schulze: Garth has been talking about Schulze here for at least two years. Most recently he wrote “The East German setting of New Lives, and its uroboric epistolary structure – starting late in the story, slowly filling in the background – made for slow going at first, but the ethical intensity of its restaging of Faust has haunted me since I read it.” The English (and somewhat illogical) title of Schulze’s new book would seem to obscure the unifying theme of the new collection, whose title, translated directly from the German original, is Cell Phone: Thirteen Stories in the Old Style. According to an abstract for a paper in the journal German Monitor, “the cell phone functions in many stories as a threatening symbol of exposure to pressures and problems that make East(ern) Germans feel ill at ease.”So Much for That by Lionel Shriver: More hot button issues. Just as Ian McEwan’s forthcoming novel is informed by climate change, Shriver’s latest takes on the healthcare debate.
The Bradshaw Variations by Rachel Cusk: Cusk’s novel is already out in the U.K. where Hilary Mantel wrote, “It is the author’s mix of scorn and compassion that is so bracing. Sometimes she complicates simple things, snarling them in a cat’s cradle of abstraction, but just as often, a sentence rewards with its absolute and unexpected precision.”Silk Parachute by John McPhee: This new collection by McPhee is built around what FSG’s promotional material calls “McPhee’s most anthologized piece of writing.” “Silk Parachute” is, especially for the typically measured McPhee, a brief, tight, funny and emotional essay (It’s available here as a .doc file). The rest of the new collection is composed of McPhee’s recent New Yorker essays on lacrosse, “long-exposure view-camera photography, the weird foods he has sometimes been served in the course of his reportorial travels, a U.S. Open golf championship, and a season in Europe ‘on the chalk’ from the downs and sea cliffs of England to the Maas valley in the Netherlands and the champagne country of northern France.” Since McPhee’s most recent collections have had fairly strong thematic threads running through them, this more loosely tied book sounds like a bit of a departure.Long for This World by Sonya Chung: And, of course, Millions contributor Sonya Chung will see her debut novel Long for This World arrive in March. Sonya wrote about the peculiar challenges of settling on a book design in a recent essay.April
The Notebook by Jose Saramago: Nobel Laureates can do “blooks” too. The Notebook is the collected entries from 87-year-old Saramago’s blog, O Caderno de Saramago. The book, “which has already appeared in Portuguese and Spanish, lashes out against George W. Bush, Tony Blair, the Pope, Israel and Wall Street,” according to the Independent, in its report on the book’s Italian publisher dropping it for criticizing Prime Minister Silvio Burlusconi. Despite his age, Saramago is a busy man. In addition to The Notebook, there’s an August release date in the U.K. for a new novel, The Elephant’s Journey, which “traces the travels of Solomon, an Indian elephant given by King John III to Archduke Maximilian II of Austria,” and Cain, “an ironic retelling of the Bible story,” was recently published in Portuguese and Spanish.Parrot and Olivier in America by Peter Carey: Carey’s new book is based on the life of Alexis de Tocqueville and wields two narrators. Olivier, the de Tocqueville “character” is, like de Tocqueville, the heir apparent of a wealthy family. Parrot is his clever servant who also happens to be a spy and all around rake. Early reviews from Australia, where the book is already out, have been strong. The Sydney Morning Herald called it “a tour de force, a wonderfully dizzying succession of adventures and vivid, at times caricatured, characters executed with great panache.”The Dead Republic by Roddy Doyle: This book wraps up Doyle’s The Last Roundup trilogy (previously: A Star Called Henry and Oh, Play That Thing!). This time Henry Smart has gone to Hollywood and then back to Dublin. A bomb blast there turns him into an accidental hero.What Becomes by A.L. Kennedy: This short story collection is already out in the U.K. The Spectator likes it: “The hardest thing about the advent of a new collection of stories by A.L. Kennedy… is the search for synonyms for ‘brilliant.'”Beatrice and Virgil by Yann Martel: Though Martel’s previous effort, Life of Pi, was far from universally loved, the book became something of a literary phenomenon, putting up sales impressive even for a Booker winner. As a result, nearly a decade later, Martel’s follow up is one of the most heavily anticipated books of the year. As before, it seems Martel will be trading in talking animals, a taxidermied donkey and monkey. More details: The book is about the Holocaust, reportedly. It’s Canadian publisher has called it “shocking.” And Martel is comparing it to Animal Farm.The Big Short by Michael Lewis: Original set for November 2009, the publication of Michael Lewis’ much anticipated chronicle of the financial crisis, The Big Short has been pushed back to April. In October 2008, when economic uncertainty was at its height and fears were voiced in some rarefied quarters about the possibility of some sort of structural collapse, we wrote, “The world needs an exhaustive look at what happened in 2008 and why.” There have already been many books about the collapse and what caused it, from The Two Trillion Dollar Meltdown to The Return of Depression Economics and the Crisis of 2008, but many readers have been waiting for a book by Lewis, both because of his long history writing about Wall Street’s excesses and because of the powerful essay he penned on the topic for Portfolio magazine at the height of the crisis. Some readers may be weary of the topic by the time the book comes out, but it’s sure to garner some interest. Noir by Robert Coover: An excerpt of this new novel by “pioneering postmodernist” Coover was published a while back in Vice. It is introduced thusly: “Noir is a short novel starring you as Philip M. Noir, Private Investigator. It began as a story about a dockside detective in pursuit of something—like truth or beauty, the ineffable—and became over the course of its writing a kind of companion piece to Ghost Town, which played with the western genre and mythology the way this one plays with the hard-boiled/noir genre and urban myth. It was the French who discovered and defined noir; consequently, this book will have its first publication in Paris, in French, in the spring of 2008.”May
The Pregnant Widow by Martin Amis: This book, long in the works, has been evolving as Amis has struggled to write it. In 2006, he told The Independent it was, “blindingly autobiographical, but with an Islamic theme.” As it turns out, the autobiographical bits were causing Amis trouble. He told the National Post in August 2009, “it turned out it was actually two novels, and they couldn’t go together. So I wrote The Pregnant Widow, [that’s] one half of it, and the other half I started, and it will be very autobiographical, the next one.” Subsequent comments from Amis appear to indicate the two book solution is still the plan.
Imperial Bedrooms by Bret Easton Ellis: Imperial Bedrooms is reportedly a sequel to Ellis’ first novel Less Than Zero. First sentence of the novel? “They had made a movie about us.”The Invisible Bridge by Julie Orringer: Orringer received more than the typical notice for a debut short story collection when her 2003 How to Breathe Underwater was named a New York Times Notable Book, landed on various other lists, and picked up a small prize or two. It’s looking like that promising first effort may translate into a “big” novel for Orringer in 2010. Library Journal reported a 60,000-copy first printing for The Invisible Bridge – the book follows a trio of Hungarian brothers in Budapest and Paris before and during World War II – and it carries with it a blurb from Michael Chabon (“To bring an entire lost world… to vivid life between the covers of a novel is an accomplishment; to invest that world, and everyone who inhabits it, with a soul… takes something more like genius.”)The Girl Who Kicked the Hornet’s Nest by Stieg Larsson: Larsson’s nordic crime fiction (which has won Larsson posthumous stardom in the States) isn’t exactly in The Millions wheelhouse, but, with nary a mention on the site, The Girl with the Dragon Tattoo vaulted into our Millions Top Ten and has stayed there. When Millions’ readers get behind a book, it’s often worth taking notice. The Girl Who Kicked the Hornet’s Nest is the final book in Larsson’s “Millennium Trilogy” (Dragon was the first and The Girl Who Played with Fire, the second). Though just becoming well known in the U.S., Larsson was the second top-selling author in the world in 2008. Part of Larsson’s sudden success is his odd path to (posthumous) publishing fame. Larsson was a journalist and activist who died of a heart attack. The manuscripts of his novels were found after his death. He had apparently written them just for fun. Five years later, the books are a publishing sensation.Private Life by Jane Smiley: There’s not much info on this one yet other than that it follows a Missouri woman’s life, from the 1880s to World War II.The Good Man Jesus and the Scoundrel Christ by Philip Pullman: Pullman (famous for his His Dark Materials children’s series) will once again be courting controversy with this new book. According to The Guardian, “The book will provide a new account of the life of Jesus, challenging the gospels and arguing that the version in the New Testament was shaped by the apostle Paul.” In addition, the book will be released on Easter in the U.K. and is part of Canongate’s “Myths” series of books. Pullman also wrote an introduction to that series.The Microscripts by Robert Walser: The pothumous publication of Nabokov’s The Original of Laura, reproducing, front and back, the notecards on which Nabokov hat charted this unfinished work, was met with no small amount of scorn. This year, another posthumously published book, based off of notecard scrawlings, may be met more favorably. The story behind Walser’s Microscripts is fascinating. From the New Directions blog: “Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper… covered with tiny ant-like markings only a millimeter or two high, came to light only after the author’s death in 1956. At first considered a secret code, the microscripts were eventually discovered to be a radically miniaturized form of a German script: a whole story could fit on the back of a business card… Each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment.”June
The Thousand Autumns of Jacob de Zoet by David Mitchell: After Black Swan Green, a departure from the frenetic, layered Cloud Atlas which was broadly considered one of the best novels of the last decade, Mitchell fans may be pleased to hear that The Thousand Autumns of Jacob de Zoet is being described as a return to form. It’s long (512 pages) and set in Japan in 1799. The Guardian says, “Mitchell returns to the big canvas with this historical novel set in a Japanese outpost of the Dutch empire.”An American Type by Henry Roth: Here’s another interesting posthumous publication. Roth is revered for his 1934 novel Call It Sleep and his 1990s “comeback” effort, the Mercy of a Rude Stream cycle, and so news of this book, “discovered,” according to the publicity materials, “in a stack of nearly 2,000 unpublished pages by a young New Yorker editor,” will surely interest readers. A little more detail from the publicity materials: “Set in 1938, An American Type reintroduces us to Roth’s alter ego, Ira, who abandons his controlling lover, Edith, in favor of a blond, aristocratic pianist at Yaddo. The ensuing conflict between his Jewish ghetto roots and his high-flown, writerly aspirations forces Ira, temporarily, to abandon his family for the sun-soaked promise of the American West.”A Visit from the Goon Squad by Jennifer Egan: This new novel by National Book Award nominee Egan sounds like it’s as ambitious and layered as Look At Me–and I’m sure it’ll be as addictively readable as The Keep. According to Amazon, it centers on the life of Bennie Salazar, “an aging former punk rocker and record executive, and Sasha, the passionate, troubled young woman he employs,” and the narrative traverses various eras and locales, “from the pre-Internet nineties to a postwar future.” Color me intrigued. (Edan)July
Update: Super Sad True Love Story by Gary Shteyngart: A reader points out in the comments that Shteyngart has a new book coming out and since we absolutely would have included it had we known about it, here it is. A recent item at The Rumpus has the scoop: “His new novel is set slightly in the future. When he started writing it a few years ago, he envisioned a world where the world’s economy had collapsed and the central banks had to bail out the Big Three automakers. As that came to pass, he had to keep changing his novel, which got bleaker and bleaker. And now it’s set in ‘a completely illiterate New York,’ he said. ‘In other words, next Tuesday.'”
Sympathy for the Devil: This is a long way off so it’s hard to say how good it will be, but it sounds pretty cool: an anthology of stories about the devil from the likes of Neil Gaiman, Stephen King, Kelly Link, China Mieville, Michael Chabon, and others.I Curse the River of Time by Per Petterson: Petterson has been on the road to international literary stardom for a few years now and that means his new novels get translated into English with relative alacrity. This means that English-speaking readers will get to see I Curse the River of Time, first published in Norwegian in 2008, later this year. The book won the Norwegian Brage prize and, according to a “sample translation” on Petterson’s agent’s website, it begins: “I did not realize that my mother had left. There was too much going on in my own life. We had not spoken for a month, or even longer, which I guess was not that unusual, in 1989, when you consider the things that went on around us back then, but it felt unusual.”
C by Tom McCarthy: At Ready Steady Book in September 2007, Mark Thwaite asked McCarthy: “What are you writing now?” And McCarthy responded: “Pathetically, my answer to this question is the same as it was when you last asked it over a year ago. I’m just under half way through a novel called C, which is about mourning, technology and matter. I’m writing it very slowly. It’s called C because it has crypts, cauls, call-signs, cocaine, cyanide and cysteine in it. And carbon: lots of carbon.”Unknown
Nemesis by Philip Roth: News of this novel was announced nearly a year ago, but there is no release date thus far and not much is known about it beyond that it’s “a work of fiction set in the summer of 1944 that tells of a polio epidemic and its effects on a closely knit Newark community and its children.”Freedom by Jonathan Franzen: Jonathan Franzen’s follow-up to The Corrections, Freedom, is likely to cause a stir when it appears, most likely in the fall. Among the prominent media narratives – the backlash, the backlash-to-the-backlash – will be the length of the novel’s gestation. Really, though, in novelist time (as distinct from internet time), nine years is a mere blip – particularly when you publish two books of nonfiction in the interim. Far more remarkable is how tight-lipped Franzen has managed to be about the novel’s content. From various obscure interviews, we’ve managed to cobble together the following: 1) The novel has something to do with U.S. politics, of the Washington, D.C. variety. 2) Franzen’s original conception of how those politics would intersect with the narrative changed radically in the writing, likely shifting from an “inside baseball” look at bureaucracy toward the personal. 3) Germany, where Franzen has spent some time recently, “will play an important role in the novel.” 4) After two New Yorker short stories notable for their smallness and misanthropy, the excerpt from the novel that appeared last year was notable for its return to the more generous ironies that endeared The Corrections to our “Best Fiction of the Millennium (So Far) panel.” (Garth)The Pale King by David Foster Wallace: Wallace’s unfinished opus is sure to be a blockbuster when it appears – April 2011 is the latest word on a release date. The Howling Fantods, home to all things DFW, has been staying on top of the story. A recent report contained a number of tidbits, including this: “The subject of the novel is boredom. The opening of the book instructs the reader to go back and read the small type they skipped on the copyright page, which details the battle with publishers over their determination to call it fiction, when it’s all 100% true. The narrator, David Foster Wallace, is at some point confused with another David F. Wallace by IRS computers, pointing to the degree to which our lives are filled with irrelevant complexity.”There are many other exciting books coming out in 2010 not mentioned here – let us know what books you are most looking forward to in 2010 in the comments section below.