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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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A Year in Reading 2011
If you're like me, you keep a list of books you read, and at this time of year, you may run your finger back over it, remembering not just the plots, the soul-lifting favorites, and the drudges cast aside in frustration. You also remember the when and where of each book. This one on a plane to somewhere cold, that one in bed on a warm summer night. That list, even if it is just titles and authors and nothing more, is a diary in layers. Your days, other plots, imaginary people.
And so when, in preparing our annual Year in Reading series, we ask our esteemed guests to tell us about the "best" book(s) they read all year, we do it not just because we want a great book recommendation from someone we admire (we do) and certainly not because we want to cobble together some unwieldy Top 100 of 2011 list (we don't). We do it because we want a peek into that diary. And in the responses we learn how anything from a 300-year-old work to last summer's bestseller reached out and insinuated itself into a life outside those pages.
With this in mind, for an eighth year, we asked some of our favorite writers, thinkers, and readers to look back, reflect, and share. Their charge was 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 2012 a fruitful one.
As we have in prior years, the names of our 2011 "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.
Jennifer Egan, author of A Visit from the Goon Squad.
Ben Marcus, author of The Flame Aphabet.
Eleanor Henderson, author of Ten Thousand Saints.
Colum McCann, author of Let the Great World Spin.
Nick Moran, The Millions intern.
Dan Kois, senior editor at Slate.
John Williams, founding editor of The Second Pass.
Michael Bourne, staff writer at The Millions.
Michael Schaub, book critic for NPR.org.
Scott Esposito, coauthor of Lady Chatterley's Brother, proprietor of Conversational Reading.
Hannah Pittard, author of The Fates Will Find Their Way.
Benjamin Hale, author of The Evolution of Bruno Littlemore.
Geoff Dyer, author of Otherwise Known as the Human Condition.
Chad Harbach, author of The Art of Fielding.
Deborah Eisenberg, author of Collected Stories.
Duff McKagan, author of It's So Easy: And Other Lies, former bassist for Guns N' Roses.
Nathan Englander, author of For the Relief of Unbearable Urges.
Amy Waldman, author of The Submission.
Charles Baxter, author of Gryphon: New and Selected Stories.
David Bezmozgis, author of The Free World.
Emma Straub, author of Other People We Married.
Adam Ross, author of Ladies and Gentlemen.
Philip Levine, Poet Laureate of the United States.
Mayim Bialik, actress, author of Beyond the Sling.
Hamilton Leithauser, lead singer of The Walkmen.
Chris Baio, bassist for Vampire Weekend.
Bill Morris, staff writer at The Millions.
Rosecrans Baldwin, author of You Lost Me There.
Carolyn Kellogg, staff writer at the LA Times.
Mark O'Connell, staff writer at The Millions.
Emily M. Keeler, Tumblrer at The Millions, books editor at The New Inquiry.
Edan Lepucki, staff writer at The Millions, author of If You're Not Yet Like Me.
Jami Attenberg, author of The Melting Season.
Dennis Cooper, author of The Marbled Swarm.
Alex Ross, author of Listen to This, New Yorker music critic.
Mona Simpson, author of My Hollywood.
Yaşar Kemal, author of They Burn the Thistles.
Siddhartha Deb, author of The Beautiful and The Damned: A Portrait of the New India.
David Vann, author of Legend of a Suicide.
Jonathan Safran Foer, author of Extremely Loud and Incredibly Close.
Edie Meidav, author of Lola, California.
Ward Farnsworth, author of Farnsworth's Classical English Rhetoric.
Daniel Orozco, author of Orientation and Other Stories.
Hannah Nordhaus, author of The Beekeeper's Lament.
Brad Listi, founder of The Nervous Breakdown.
Alex Shakar, author of Luminarium.
Denise Mina, author of The End of the Wasp Season.
Christopher Boucher, author of How to Keep Your Volkswagen Alive.
Parul Sehgal, books editor at NPR.org.
Patrick Brown, staff writer at The Millions.
Jacob Lambert, freelance writer, columnist, contributor to The Millions.
Emily St. John Mandel, author of Last Night in Montreal, staff writer at The Millions.
Kevin Hartnett, staff writer for The Millions.
Garth Risk Hallberg, author of A Field Guide to the North American Family, staff writer at The Millions.
Jeff Martin, author of The Late American Novel.
Jane Alison, author of The Sisters Antipodes.
Matthew Gallaway, author of The Metropolis Case.
Nuruddin Farah, author of Crossbones.
Natasha Wimmer, translator of The Third Reich.
Jean-Christophe Vatlat, author of Aurorarama.
Kevin Brockmeier, author of The Illumination.
Brooke Hauser, author of The New Kids: Big Dreams and Brave Journeys at a High School for Immigrant Teens.
Belinda McKeon, author of Solace.
Ellis Avery, author of The Teahouse Fire.
Buzz Poole, author of Madonna of the Toast.
A.N. Devers, editor of Writers' Houses.
Mark Bibbins, author of The Dance of No Hard Feelings.
Elissa Schappell, author of Blueprints for Building Better Girls.
Rachel Syme, NPR contributor.
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The Story in the Storm: An Accomplished Author on How to Write Journalistic Nonfiction
In his introduction to The Best American Essays of 2007 David Foster Wallace described the challenge of writing non-fiction like this: "Writing-wise, fiction is scarier but non-fiction is harder—because non-fiction's based in reality, and today's felt reality is overwhelmingly, circuit-blowingly huge and complex."
This spring I reviewed a work of non-fiction for The Christian Science Monitor called The Beekeeper's Lament by Hannah Nordhaus that I thought met Wallace's challenge better than most books I've read. It is about migratory beekeeping (and one curmudgeony migratory beekeeper in particular) and the role that factory farmed bees play in the maintenance of American agribusiness. Over the course of the book Nordhaus uses a somber, lyrical writing style to make bees into just about the most fascinating subject you've ever encountered while at the same time crafting an elegiac metaphor for the contingency of modern American life.
After I'd finished writing the review I decided to contact Hannah to ask her how she'd produced such a remarkable book. I was curious about everything: how she'd chosen this esoteric vein to mine; what it had been like spending weeks in the field with oddball beekeepers and their stinging swarms; how, exactly, she'd transformed reams of field notes and a mountain of bee trivia into a graceful volume that feels as effortless as a spring breeze. Still, my abundant curiosity aside, I doubted that she'd write back. A day later, she did.
What follows, then, is a veritable how-to for writing a book of journalistic non-fiction in which Hannah talks about everything from selling her manuscript to courting her sources to settling into the one and only position on her couch in which she can actually get any writing done.
The Millions: As a freelance writer you can write about just about anything and everything, and you pretty much have: bees, dildo-art thieves, nuclear weapons, litigious prostitutes. Choosing a topic is a significant commitment (what sounds like several years of your life in the case of The Beekeeper's Lament). Given that, out of all the ways you might spend your professional time, how do you decide what to write about?
Hannah Nordhaus: First, the subject has to interest me. I’m not terribly successful at doing things that I find boring, which is, I guess, why I’ve chosen to be a freelance journalist who hops from story to story. That said, I am interested in all manner of subjects, including many that would seem boring to most everyone else. Dildo art thieves and litigious prostitutes are easy; but I’ve also dedicated months of my life to documenting the lives of lawyers who draft bills for Congress. And that subject interested me too: What I find most absorbing to write about are the little hidden corners of the human experience, the people who do weird things or scary things or difficult things by choice, and who persist in doing those things even when it’s clear they’d be much better off choosing another path through life.
So that’s how I have chosen magazine subjects, and it’s a formula that’s worked for me—but often, when I’m done with the article, I’m also done with the topic, and I really don’t want anything else to do with it. I don’t want to read about it; I don’t want to hear about it; I certainly don’t want to write about it. In the case of The Beekeeper’s Lament, though, I found that even after I had published a 4,500-word feature on the crisis in modern beekeeping, I still had more to say. Luckily, so did my protagonist, John Miller, who is a wonderfully eloquent, funny, thoughtful, sometimes petulant but always entertaining subject to follow. John Miller’s life was so rich with narrative possibility, and honey bees, the creatures he tends, are so rich with metaphor, that it never even occurred to me that I might get sick of the subject two or three years down the line. And I never did.
TM: Before we get into the specifics of what went into writing The Beekeeper's Lament, could you give readers an overview of the stages of the book's creation from conception to publication?
HN: I first interviewed John Miller in 2004 while researching an article for a natural foods magazine about a honey-based energy gel company in which he is a partner. He told me about his work as a migratory bee guy with thousands of hives, pollinating huge crops all over the West. I was intrigued, so I called him back, and I ended up paying my own way to visit him twice—once in California, once in North Dakota—to learn more about his life and his work. My timing was propitious (for a writer of non-fiction, that is; for a beekeeper, it was not good at all): about a year after I first met John Miller, his outfit suffered a catastrophic collapse, and he lost about 40% of his bees because of diseases vectored by a nasty little parasite called the varroa mite. I sold the story to High Country News, a small environmental magazine in Colorado, and just as the article was about to go to press in early 2007, the national bee herd began suffering from a mysterious new problem named “Colony Collapse Disorder,” or CCD.
I was seven months pregnant with my first child when the magazine story ran, and thus in no condition to dash off a quick topical book that would address the CCD mystery. Instead, I took my time, had my kid, got an agent, and took a leisurely year to put together a proposal and write a sample chapter to submit to publishers. In the meantime, a number of other books came out about the honeybee crisis. This didn’t improve my odds for generating a bidding war (there wasn’t one) and netting a big advance (ditto), but I think in the end the more relaxed timeline actually did me a favor. I couldn’t write another newsy, topical book about bees—there were enough of those already. So instead, I pitched a more character-oriented work about humans and bees that would follow one particular human, John Miller, through the seasons and the years of the recent honey bee crisis, and in so doing also explain this weird institution of modern beekeeping.
I sold the book in Dec 2008, took a trip to attend a beekeeping conference with Miller that winter, signed a contract in March; and three days later, while in California doing research on queen breeders, I found out I was pregnant again—with a baby due date that fell about seven months before the book due date. This complicated matters for me majorly, and after running around in circles for a few days wondering how I was going to get it done, I decided that the most important thing was to get something—anything—down on paper while I still had a few powers of concentration left. So I set the goal of writing a terrible draft before the baby came. And that’s what I did. I put my head down and wrote a terrible chapter every three weeks, had the baby, took three months off, and then embarked on the hard but rewarding work of turning a bad draft into a serviceable one. I turned the book in in June 2010. There were a couple of months of relatively painless back-and-forth editing with my excellent editor, Michael Signorelli at Harper Perennial, and then it was off to production.
TM: Of those stages- (i.e. interviewing and field work, research, writing)- what parts do you enjoy the most? Any that you look forward to less than the others?
HN: My favorite part of the writing process is always editing. I love taking this raw mass that is a first draft and then shaping it into something I might actually enjoy reading. I do like the research, though I sometimes dread calling random people on the phone, and I find that research trips can be lonely. And writing a first draft—well, I hate it. The act of corralling information and making it into a cohesive narrative is not a pretty one, and I tend to beat myself up for how bad my writing is. But in the last few years, I have made it a point of pride to write my first draft as quickly and poorly as possible, without consulting my notes or laboring over it. It makes the editing work a little harder, but by writing from memory and not belaboring all the minutiae in my notes, I tend to remember only those facts and points that are most salient to the narrative. And then I can always flesh out the things I missed later, though often I decide the things I forgot in the first draft really weren’t all that important. So now I do much of the heavy-lifting in the editing process, once I have gotten the bones of the story down. That’s when I spend the time agonizing over word choice and rhythm and flow and what information needs to stay or go, over what’s missing and whether it all makes sense. And that is the fun part for me—I love tinkering, and I love finding connections I never saw the first time through.
TM: The main character in your book is a gregarious migratory beekeeper named John Miller. I got the impression that you two spent a lot of time together, and I'm always curious how those types of relationships work- how would you describe the dynamic between the two of you?
HN: John has been an incredibly gracious guide into his life and world. He likes to talk, and to write, and he’s passionate about what he does, which made him a wonderful subject for this book. He’s also very conscious of his failings—as a Mormon, as a husband, and especially as a beekeeper—which adds a sense of poignancy to his story that isn’t always easy for a journalist to find. I couldn’t have asked for a better partner in creating this book.
But of course, he’s still human, and I don’t think any human wants another human, especially one they barely know, following him around for months on end. So I was pretty careful with my visits, trying not to stay too long or hang around too much. I didn’t want to wear out his (quite limited) patience.
Fortunately, John is a prolific emailer—he writes these wonderful, lengthy free-verse odes about his life and his work and anything else that pops into his head. So I asked him, once this project got started, if he could email me regular updates about what he was doing between visits. He did, and if I didn’t hear from him for a while I’d send a quick note asking him what was new or plying him with questions about queens or honey or his new truck, and he always obliged me with a long, detailed, oddball explanation of the current goings-on in the bee industry and the life of John Miller. And those emails formed the backbone of the book, and really helped bring him to life.
After I’d finished a polished second draft but before I turned it in to the publisher, I asked John to read the book. And nothing was scarier—not submitting the proposals to publishers; not giving the draft to my editor; not even showing it to my mother. But he really seemed to love it—though he did take exception to me calling him “peevish” (for a month or so afterwards signed all his emails, “Mr. Peev”). This was my first book, and I’m not sure how other people handle that long-term and intense connection between journalist and subject that book-length projects require.
But I guess in the end I felt that we—like bees and flowers, like beekeepers and farmers—were engaged in a symbiotic relationship that seemed to be beneficial to both of us—I got to write a book about a really cool topic; he had a venue through which to get the word out about the importance of bees and beekeepers in these trying times. Like all symbiotic relationships, ours depended on a delicate balance, which I was very careful to nurture: I gave him veto power on anything he felt was too personal, and I also tried to write the book in such a way that he wouldn’t have to exercise that veto. I wanted the book to explore his nature and his character, but not at the expense of his good name. And that seemed to be okay with him. In the end, he asked that I change nothing.
TM: In his introduction to The Best American Essays of 2007 David Foster Wallace wrote, "Writing-wise, fiction is scarier but non-fiction is harder—because non-fiction's based in reality, and today's felt reality is overwhelmingly, circuit-blowingly huge and complex." How does his description of the challenge of writing non-fiction strike you?
HN: To write strong, journalistic non-fiction, you have to do a lot of research. You have to make a lot of phone calls, do a lot of reading, visit as many people and locations as you can, and then try to somehow combine all that undigested information into something that a reader can stomach. But honestly, while reporting is hard and requires a lot of effort and elbow grease and legwork and chutzpah, I think the most challenging thing about writing non-fiction is turning that information into a story. Because if the narrative isn’t unfolding the way you want it, you can’t just change the details to make it better, the way you would when writing fiction. You have to represent the truth.
It’s very hard to be both a storyteller and a chronicler of reality. So to tell a true story that readers want to follow to the end, you’ve got to be very conscious of your craft—of your characters, chronology, pacing, setting, foreshadowing, backstory, detail—all those same elements that are so important in fiction writing. And then you’ve got to make double-sure you’re not making anything up.
TM: Continuing on Wallace's point, The Beekeeper's Lament covers a lot of ground—almond farming, a history of the Miller family, the international honey trade, bee pests and contagions. How did you keep all that information organized and accessible as you wrote?
HN: This was a tough book to organize, because there wasn’t an easy A to B to C chronological narrative of John Miller’s life as a beekeeper. There was no “man meets bee, man loses bee, man gets bee back” plot to rely on. His life is seasonal, and there are ups and downs, and though there were lots of good stories scattered throughout, there was not one particular thread that drove the story from start to finish. But I knew I needed to have some sense of time moving forward and to pique reader interest in a way that might appeal to those who aren’t bee fanatics as well as those who are. I needed to give those who looked at the first chapter a reason for moving on to the next one.
So as I started thinking about chapter structure and the overall flow of the book, I tried to pose some questions so that readers would keep turning the page, and I returned to them regularly. Why did so many of John Miller’s bees die in 2005? What’s been killing everyone else’s bees in the years since? Is John Miller’s outfit going to survive? Why has he chosen to remain in such a difficult profession? And I used those questions to keep readers interested (I hope) and string them along from chapter to chapter.
I also approached the individual chapters as more independent thematic units, organizing each one by subject. I [also] tried to touch on some larger themes, like migration, and risk, and symbiosis, and persistence—concepts that make people think on another level, and that, when you boil it down, are what make works of non-fiction “literary,” and not glorified long-form encyclopedia entries.
TM: Writers are always interested in other writers' writing processes. Where do write? When do you write? Any rituals, tics, frustrations, moments of grace that attend the writing process for you?
HN: Let’s see. Hmmm. Well I dally a lot before I get started on a first draft. I check a lot of email. And google myself. Facebook suddenly seems very pressing. Twitter, too. And then when I can’t find any other excuse, I sit down on the couch and just start spewing. I sit at my desk when I’m writing emails or paying bills, but when I’m composing—when I’m really concentrating—I have to sit on a couch with my legs up and my laptop perched on a cushion on my thighs. I must be semi-reclining, apparently, to get any real writing done.
TM: Are there any non-fiction writers whose work has influenced your writing? And if so, what particular things have you taken from their writing?
HN: There are two books that particularly influenced my approach to The Beekeeper’s Lament: The Orchid Thief by Susan Orlean and Mountains Beyond Mountains by Tracy Kidder. Both have in common their singular focus on one character, who then opens up an entirely new world to the reader. The Orchid Thief isn’t about orchids; it tells the story of one man’s weird obsession with the plants, and in so doing teaches the reader more about orchids, and Seminoles, and Florida, than they ever realized they wanted to know. I love the playfulness of Orlean’s language.
Mountains Beyond Mountains also uses character to open narrative and thematic doors—by examining the life and work of Dr. Paul Farmer, we learn about Haiti, and health care in the developing world, and the medical profession, and the philanthropic world, and human decency. What I particularly love about Kidder’s book is the depth of feeling that he conveys through Farmer’s story. It’s not mawkish at all, but you feel so strongly Farmer’s own depth of feeling—and when all the details of that book have faded away, that feeling still remains. John Miller, like Paul Farmer, carries with him a profound sense of mission, though Miller’s involves bees, not humans, and you would never mistake Miller for a saint as you might Paul Farmer. Both books are so rich in detail, so effortless in their storytelling, so attentive to character, and so smart.
TM: Any particular advice you'd relay to writers beginning to work on an extensive non-fiction project?
HN: I guess my main piece of advice would be to give yourself the time to be deliberate when you craft the book. It’s not enough to organize it chronologically and then go; you need to think about how you’re going to keep readers interested, about the major themes that you want the sprinkle throughout the book, about how you are going to keep it tight. So many books lose their focus, and you’ve got to be really conscious throughout to keep the reader coming back to the reason you’re writing the book, the story you’re telling, and the questions you’re asking and that you plan, in due time, to answer. You’ve got to be ruthless with yourself. People don’t want to read every word that emerges from your brain just because you’re brilliant and you wrote it; there has to be a reason behind every chapter, every paragraph, every sentence. Every word you write should serve your overall narrative and thematic structure. That doesn’t mean you can’t go off on flights of whimsy—I certainly did, and I can’t say that I succeeded uniformly in keeping the book as tight as I am recommending that others do—but you do need to know, ultimately, where you’re going, and not lose sight of that.
And then, at some point, when your deliberation has run its course, you’ve got to stop agonizing, stop doing research, stop aiming for perfection, and just sit down and write the damn thing.
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