This year has been a tremendously difficult one for millions across the country as we figured out how to recalibrate our boundaries towards resistance and self-care, protecting ourselves while defending others, and making time for laughter in the midst of a trash-fire administration. For anyone who has been involved with books, this new political landscape has made it difficult for authors, particularly those with debuts, to have a strong opening, as the cultural window kept shuttering around any and everything that did not relate to he-who-shall-not-be-named and a sum total of our political opinions. Yet still, books have prevailed. And they always will, because they are necessary for guidance, transportation, and understanding. I am proud to say that the majority of the books I’ve read this year was written by women. Immediately in January, I devoured Difficult Women by Roxane Gay within a few days. Homesick for Another World and The Book of Joan were two outlandish works of art that will stay with me for a long time because I feel like despite completing them, there may have been some details that I might have missed, which may or may not give me an entirely new experience while reading them once more. I read All The Lives I Want by my dear friend Alana Massey, The Autobiography of Gucci Mane, and Hunger. Then I read works that delved deeply into the intricacies of family politics, such as Goodbye, Vitamin, What We Lose, Sing, Unburied, Sing, and The Rules Do Not Apply. I also read some entertaining debuts, such as Start-Up, Marlena, and Sour Heart, while reading recent works from more established authors, such as Haruki Murakami’s Men Without Women and Jami Attenberg’s All Grown Up. There’s still so much I need to finish: Masha Gessen’s The Future Is History, Carmen Maria Machado’s Her Body and Other Parties, and the Nasty Women anthology, and so much more. But the aforementioned books are those that I remember so vividly, whether I was taking a voyage to Brooklyn, reading as I waited for my tapas at a Barcelona restaurant, or having quiet time away from family back in New Jersey. I hope that they will do the same for you. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
As an omnivore, I define the word “enjoyment” as anything from a heady intellectual excitement at exposure to new ideas or narrative structures all the way to an uneasy/comfortable feeling that lives visceral in the gut and defies analysis. I’m not really interested in imposing my own idea of a good book on what I read—I want the book to imprint itself on me and take me over and change me. I have left off most of thousand or so books I blurbed in 2017, believing their blurbification gave them an unfair advantage. However, I couldn’t resist including blurbed books by Leonora Carrington, Jac Jemc, and Quintan Ana Wikswo. (Since this is The Year of the Machado, I don’t think I need to draw your attention that way—if you haven’t read Her Body and Other Parties, what’s your problem?) I have also included a couple of 2016 titles that I first read this year. As for regrets, my current to-read pile includes Clade by James Bradley, Compass by Mathias Énard, Camilla Grudova’s The Doll’s Alphabet, Notes of a Crocodile by Qiu Miaojin, A State of Freedom by Neel Mukherjee, Little Fires Everywhere by Celeste Ng, Chemistry by Weike Wang, and The Inner Lives of Animals by Peter Wohlleben. My regrets also include a half-dozen much-lauded titles that I would characterize as damp sparklers dressed up as a full fireworks display, but the less said about them the better. Belladonna by Daša Drndić, translated by Celia Hawkesworth (New Directions) – I place this selection first, out of alphabetical order, because it was my favorite read of 2017 and one of my favorites of this decade. Using as her canvas the life of the elderly ex-psychologist and ex-author Andreas Ban, Belladonna unflinchingly explores the horrors of fascism in Croatia, the break-up of Yugoslavia, World War II crimes against humanity, and the absurdities of aging and of the modern era. Deftly diving into various periods of Ban’s life, Drndić’s accomplishment here is astonishing for several reasons. First, that what easily could be drifty, dreamy, and unfocused is so sharp, structured, and acerbic. Second, that she can deal so nakedly with atrocity and yet say something new and pin the offenders to the wall and somehow not become didactic in the negative sense of that word. To give just one example of the novel’s many strengths, Drndić in chronicling a trip made by Ban to Amsterdam observes of a particularly stupid example of recycling that “people are obedient, they like to separate their trash, to recycle the debris of their own and other people’s lives. Following a diktat, they fly to embrace goodness, which they shift around in their pockets the way men scratch their balls, then they sleep soundly.” Like much of Belladonna, the observation sends up modern life but also has relevance to the terrible history Drndić lays bare. The novel is multi-faceted, sharp, surprising, darkly and grimly hilarious, relevant to our times, and possesses limitless depth. It also bristles with intelligence and defiance in every paragraph, like an exceptionally erudite and alert porcupine. Belladonna deserves major awards consideration, and I don’t mean for “best translation,” although definitely that too—Hawkesworth’s work here is marvelous. (Curmudgeonly aside: Reviewers, please stop comparing authors to W.G. Sebald just because a novel includes a grainy black-and-white photo or two and pays attention to history.) The Idiot by Elif Batuman (Penguin Press) – This first novel chronicling hilarious and sad misadventures on a college campus in 1995, and then in Hungary for a student work program, delights in large measure due to the unusual narrator and the exasperating relationship at the story’s core. Batuman has a talent for exposing the absurdity of how we conduct ourselves in the world and the ridiculousness of societal rituals. It’s a tribute to Batuman’s formidable magic tricks that although the novel fades a bit in the final fifth, I still enjoyed The Idiot more than almost anything I read in 2017. The Gift by Barbara Browning (Coffee House) – An overlooked gem from the year, The Gift chronicles a woman’s journey through art and experience in the context of the Occupy movement, with observations about our modern attempts to form meaningful connection. As I wrote for Bookforum, “The Gift is unusual novel about the performance of life and the life of performance that tells us empathy and passion are deeply political, and that fiction that flips a finger to the boundary between storytelling and the body is an expression of hope and a way toward a different future. In so many ways, Browning’s creation is a beautiful meditation on art, and a balm for readers in these difficult times.” The Complete Stories of Leonora Carrington by Leonora Carrington (Dorothy) – The famous surrealist painter and contemporary of Max Ernst also wrote fiction, and this fiction bridged the gap between the surrealists and post-World War II fabulists. Her writings were a huge influence on Angela Carter, and likely allowed Carter to imagine a surrealism wedded to stronger cause-and-effect and something resembling a plot. In short, Carrington is essential to the history and evolution of 20th-century non-realist fiction. Stories like “The Debutante” and “White Rabbits” are strange and timeless and conjure up the universality of fairy tales while being thoroughly modern. The Green Hand and Other Stories by Nicole Claveloux, text translated by Donald Nicholson-Smith (NYBR Classics) – These heady, surreal, transgressive stories from a forgotten imaginative juggernaut in French comics feature talking vegetables, depressed birds, and imagery that will lodge deep in your subconscious. The art style is like some aggressive mash-up of R. Crumb, Moebius, and Jim Woodring, but utterly unique. Simultaneously beautiful and disturbing. The Trespasser by Tana French (Viking) – My first experience with French’s fiction, The Trespasser is a layered, complex tale that includes the added frisson of the detective narrator’s justified “paranoia” that the murder squad is out to sabotage her because of her gender. The combination of a fascinating case, a deep dive into the history of the narrator’s colleagues, and the fraught relationship she has with her partner create something special. I’ve now read all of French’s novels and recommend everything she’s written. Her work has contributed greatly to my continuing education as a writer. Houses of Ravicka by Renee Gladman (Dorothy) – Gladman continues her utterly marvelous tales of the imaginary Ravicka, this time focusing on the mystery of invisible houses that seem to experience spatial dislocation. The narrator pursues this mystery with an implacable logical illogic that is reminiscent less of Franz Kafka or Italo Calvino than of a fabulist J.G. Ballard. Time and space are compressed and expanded in ways that create beautiful glittering structures in the reader’s mind. By the end, your brain has new secret compartments, which will reveal themselves when least expected. The End of My Career by Martha Grover (Perfect Day) – An utterly enthralling and sobering tragicomic memoir of job and life experience that showcases Grover’s perfect sense of pacing and her eye for the absurdities of life and of the institutions of the modern world. Highlights include the essay “Women’s Studies Major” and the title essay. Out from a press in Portland, Ore., this collection deserves a much wider audience. [millions_ad] Exit West by Mohsin Hamid (Riverhead Books) – The author demonstrates the power of using a slight speculative element—mysterious doors used by people fleeing civil war to pass into Europe—to create a near-perfect novel about love, loss, and displacement. The novel’s most brilliant extrapolation is in not undermining the emotional resonance of the doors, and their effect on the main characters, with pointless explanation. Instead, Hamid creates a sensitive tapestry that comments on our current situation to devastating and beautiful effect. Rabbit Cake by Annie Hartnett (Tin House Books) – Set in Freedom, Ala., Hartnett’s novel is an exploration of a mother’s death and the lives of animals that manages to be both “funny and heart-breaking” while avoiding the cliché inherent in the bittersweet. The narrator, Elvis Barrett, is endearing and in some ways wise beyond her years—and certainly knows more facts about critters than the average person. Although dead when the novel opens, the mother’s character is vividly portrayed and the family dynamic rather beautifully rendered as well. This is the kind of book I try to resist as a noted curmudgeon, but with not a smidge more sentiment than needed, Rabbit Cake is an instant classic that you could confidently give as a gift to any reader. Crawl Space by Jesse Jacobs (Koyama Press) – Jacobs’s 2014 Safari Honeymoon was a tour de force about contamination and containment, portraying in lush comic panels relationships between humans and the environment that were horrific, hilarious, and unique. Crawl Space, with its psychedelic chronicle of people discovering a hidden world behind mundane reality, warps and rewires the reader’s brain in ways more about control and damage, while exploring a genuinely unearthly ecosystem of creatures. The Grip of It by Jac Jemc (FSG Originals) – An original ghost story is nearly impossible to write, but somehow Jemc manages to come very close. In part, her clever structure—alternating between the points of view of a husband and wife as they encounter horrors in their new house—helps achieve new effects. But the novel also demonstrates an uncanny knowledge of ghost story tropes in the answers it provides—and doesn’t provide. I found The Grip of It genuinely creepy, in a jaded context in which I’ve been marinating (almost literally, and much to the detriment of my internal organs) in weird fiction for decades. The Answers by Catherine Lacey (Farrar, Straus and Giroux) – I love the conceit of Lacey’s second novel, which allows the author to tackle so much that is so relevant about relationships and power structures. A rich creative seeks to have his personal life so structured that different women perform different roles for him. The narrator of the first part of the novel, whose own life is fraught, is hired for one of the roles and from there Lacey pursues the idea about as far as it can go. The novel then opens up to include other points of view. The real genius of the novel is how the central conceit allows Lacey to structure scenes in ingenious ways, creating narrative drive and reader investment for what, on the face of it, might otherwise seem a purely intellectual exercise. The differences between The Answers and her wonderful first novel suggest that Lacey will continue to surprise and is unlikely to repeat herself. Black Moses by Alain Mabanckou, translated by Helen Stevenson (The New Press) – Author of the infamous African Psycho and Memoirs of a Porcupine, Mabanckou’s Black Moses is less formally inventive than prior translated works, and perhaps an easier entry point for readers unfamiliar with his fiction. But it is nonetheless riveting and powerful stuff, set in the 1970s and 1980s in Congo-Brazzaville. Tokumisa, whose full name means “Let us thank God, the Black Moses is born on the lands of the ancestors,” lives in an orphanage run by a jerk and abused by his fellows. Following his escape, Tokumisa joins a gang and thus begins a dark journey through a criminal underworld, with tragic consequences. Humankind: Solidarity with Nonhuman People by Timothy Morton (Verso Books) – Considered by many to be among the top philosophers in the world, especially among those tackling issues related to human effects on our environment, Morton herein provides an important, spirited, and sometimes frenetic analysis of the foundational assumptions of Marxism and other -isms with regard to nature and culture (whilst also wanting to redefine those terms). Morton makes a compelling case for how our existing ideologies must adapt or change radically to repatriate ourselves with a world in which we are entangled physically but which we have convinced ourselves we are estranged from, or stand apart from, in our minds. If that sounds wordy, it’s because this is a complex topic and Morton is better than I am at expressing complex concepts in ways that are useful to a layperson. Sourdough by Robin Sloan (MCD/FSG) – This satire of the tech industry manages to be both sweet and savory, in telling the story of a woman who inherits the possibly sentient starter for a sourdough recipe. More fairy tale than incisive critique, Sourdough epitomizes the heart-warming story that isn’t saccharine and as such it’s a rare novel indeed in a landscape dominated by more weighty books. But lightness is much more difficult to pull off (without devolving into the trivial), and Sloan manages the magic trick handily. I Capture the Castle by Dodie Smith (Wednesday Books ) – Like a relic from a simpler time, Smith’s novel, originally published in 1948, is a bit of a time capsule, but no less enjoyable for that reason. In charming and disarming prose, 16-year-old Cassandra Mortmain chronicles her family’s life in a crumbling castle. The place was bought by her father at the height of his literary success, but the death of their mother has given him writer’s block. Now they’re penniless and trying to eke out a spartan existence in their huge empty palace (complete with moat). Then Americans buy a neighboring farm and by extension become the Mortmain’s landlord, creating complications. All of the characters—from Cassandra’s siblings to her step-mom and her dad—are expertly drawn and the novel has lovely pacing and astute observation of human behavior. My Cat Yugoslavia by Pajtim Statovci, translated by David Hackston (Pantheon) – By turns subtle and explicit, Statovci’s first novel focuses on the mysteries of a love story across two countries narrated by Bekim, a displaced Yugoslavian living in Finland with a boa constrictor as his sole companion. Investigating his mother’s life (and loves) brings him back to Kosovo, which he hasn’t seen since he was a young child, and the novel opens up to become a haunting and beautifully written exploration of identity, father-son relationships, and history. Did I mention that a sarcastic talking cat also figures prominently? I’ve never read anything quite like this novel, expertly translated, which draws equally on fabulist and realist influences to create a unique tale. Fever Dream by Samanta Schweblin, translated by Megan McDowell (Riverhead Books) – If environmental pollution and climate change require new approaches to narrative, then Schweblin in Fever Dream has hit upon one potent approach. At the crossroads of the surreal and the real, her story about a dying woman and a boy who is not her son manages to convey the confusion and pain of the modern condition in a way I haven’t seen before. A short read, utterly riveting and poignant. Stages of Rot by Linnea Sterte (PEOW) – This first graphic novel by a talented Swedish artist depicts an alternate Earth in which up is down and the small have become the mighty. From giant moths ridden by post-humans to orcas that cruise through the sky, Sterte up-ends the order of the natural world and in doing so makes that world more visible to us. The panels are largely wordless, the story told through the lifecycles and everyday existence of the fantastical creatures on display. The ecosystems she’s created are monstrous and magnificent. Orgs: From Slime Molds to Silicon Valley and Beyond edited by Jenna Sutela (Garrett Publications) – This slim glossy expose of slime mold organization as applied to a (not always subtle) critique of capitalism is oddly charming and especially relevant in how it attempts to map organic systems to the human world. Diagrams and maps along with full-color photos of various weird slime-molds jostle for dominance along with fascinating main text that discusses “Sublime Management” and the biological metaphors inherent in corporate-speak. As a writer who tries to get beyond the human and is invested in exploration of soft tech like mushrooms, I found Orgs very interesting. However, I must point out that a supposedly progressive or leftist approach to the topic might have come in a more eco-friendly container: the glossy paper of this booklet stank of chemicals when I rescued it from the unnecessary shrink-wrap. (Thus, we all live with hypocrisy.) Black Wave by Michelle Tea (Feminist Press) – This skillful, sui generis, and bawdy intertwining of climate change anxiety and queer feminism has no equal or parallel in my experience. Set in a future of impending environmental doom, Tea’s narrator attempts to carve out a life, career, and relationships in a crumbling San Francisco. In a series of brilliant and hilarious set-pieces, sex and drugs and gender issues figure prominently, but also a complex awareness of the precariousness of our modern times. Although the environmental movement has in some ways lagged behind on social justice issues, Tea demonstrates the value of non-cis-gendered voices in this space, and how deviating from predominantly straight white male experiences can radicalize and make new the whole idea of the apocalyptic or mid-apocalyptic novel. Messy, poignant, funny, sad, visionary—Black Wave is pretty much everything. The Cooking Gene: A Journey Through African American Culinary History in the Old South by Michael W. Twitty (Amistad) – If everything is political and nothing about our foundational assumptions should remain unexamined, then The Cooking Gene helps hasten the process in an interesting direction, coming at racism, gender, and faith from a different vantage. Twitty’s thorough and thought-provoking book uses recipes for West African Brisket, among others, and trips to Civil War battlefields, synagogues (Twitty is Jewish), and plantations to tell the story of his family’s own personal history and the origins of Southern cooking. He also explores our relationship with animals, where our food really comes from, and how we’ve become disconnected from the natural world. Much of the history of food preparation he uncovers concerns survival and necessity. The author’s loss of his mother while writing the book adds a sadness but also a kind of strength. A Long Curving Scar Where the Heart Should Be by Quintan Ana Wikswo (Stalking Horse Press) – Taking on all kinds of issues with regard to history and the marginalized, this deep and ultimately cathartic novel, replete with anchoring photographs by the author, chronicles the attempts of a midwife abandoned by her husband to establish a sanctuary for the downtrodden in a deserted plantation. This location, the secrets of the small town nearby, and the lives of those who seek sanctuary come together to create a powerful story about the damage of the past and the power of community. But, honestly, until you live within the intimacy of Wikswo’s prose, you can’t really understand A Long Curving Scar; it tends to defy summary. The Book of Joan by Lidia Yuknavitch (Harper) – This transformative and ecstatic retelling of the Joan of Arc story in a future dystopian setting of environmental collapse and fascism challenges the reader to confront the iniquities of the present day. This is a phantasmagorical literary opera full of dramatic moments but also quiet scenes of intense realism, and Yuknavitch has created a timely tale that is always disturbing and thought-provoking. Nor, as in some dystopias, does she neglect an searing examination of the role of animals in our lives. I also highly recommend her nonfiction book The Misfit's Manifesto, released late in the year. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
Over the last 13 years, the Year in Reading has collected the book recommendations and musings of some of the most brilliant readers and writers working today. Looking at the series over time it becomes an instrument of measurement, not only for tracking the way the site itself has grown and evolved, but for recording the big books of the moment, or the books of yesteryear that readers never tire of discovering anew. It can also capture--in a glancing, kaleidoscopic way--the general mood of the professional reading public. The 2016 Year in Reading was in some respects pretty grim, as contributors tried to reconcile reading, at its heart an intensely private, personal passion, with the requirements of being human in a world where bad things persist in happening. This year I'd like to focus on the good things. The Year in Reading is my favorite thing we do at this site, and I'm so grateful for the writers who gave generously of their time to participate. I'm grateful for the dedicated readers who navigate here every morning and give the site a reason to live, and for the supporters who are helping us secure the future. This is our 14th year, and 14 years is an eon in Internet Time. The Millions won't survive the heat death of the universe, but it has already stuck around longer than at least some bad things will. A lot of our 2017 Year in Reading contributors were anxious and tired and read less than they would have liked. The good news is that they still did a lot of excellent, engaged reading. The good news is that there are more exquisite and important things to read than you'll ever read in your lifetime. The good news is that books are still the vehicles for inquiry, revelation, devastation, and joy that they have always been. The names of our 2017 contributors will be unveiled throughout the month as entries are published (starting with our traditional opener from Languagehat’s Stephen Dodson later this morning). Bookmark this post, load up the main page, subscribe to our RSS feed, or follow us on Facebook or Twitter to make sure you don’t miss an entry — we’ll run three or four per day. And if you look forward to the Year in Reading every year, please consider supporting the site and ensuring this December tradition continues for years to come. -Lydia Kiesling Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Stephen Dodson, co-author of Uglier Than a Monkey’s Armpit, proprietor of Languagehat. Tayari Jones, author of An American Marriage. Eugene Lim, author of Dear Cyborgs. Edan Lepucki, contributing editor and author of Woman No. 17. Sonya Chung, contributing editor and author of The Loved Ones. Emily St. John Mandel, staff writer and author of Station Eleven. Nick Ripatrazone, contributing editor and author of Ember Days. Garth Risk Hallberg, contributing editor and author of City on Fire. Janet Potter, staff writer. Louise Erdrich, author of LaRose. Ahmed Saadawi, author of Frankenstein in Baghdad. Jesmyn Ward, author of Sing, Unburied, Sing. Jeff VanderMeer, author of Borne. Lidia Yuknavitch, author of The Book of Joan. Garth Greenwell, author of What Belongs to You. Carmen Maria Machado, author of Her Body and Other Parties. Kevin Young, author of Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News. Yoko Tawada, author of Memoirs of a Polar Bear. Danzy Senna, author of New People. Jenny Zhang is a poet and writer. Matthew Klam, author of Who Is Rich. Paul Yoon, author of The Mountain. Julie Buntin, author of Marlena. Brandon Taylor, associate editor of Electric Literature’s Recommended Reading and staff writer at Literary Hub. Hannah Gersen, staff writer and author of Home Field. Matt Seidel, staff writer. Zoë Ruiz, staff writer. Clare Cameron, staff writer and author of The Last Neanderthal. Il’ja Rákoš, staff writer. Ismail Muhammad, staff writer. Thomas Beckwith, staff writer. Michael Pollan, author of Cooked: A Natural History of Transformation. Jeff Chang, author of Can't Stop, Won't Stop. Robin Sloan, author of Sourdough. Juan Villoro, author of The Reef. Chiwan Choi, author of The Yellow House. Scaachi Koul, author of One Day We'll All Be Dead And None Of This Will Matter. Gabe Habash, author of Stephen Florida. Ayobami Adebayo, author of Stay with Me. Kaveh Akbar, author of Calling a Wolf a Wolf. Kima Jones, founder of Jack Jones Literary Arts. Vanessa Hua, author of A River of Stars. Hamilton Leithauser, rock star. R.O. Kwon, author of The Incendiaries. Rakesh Satyal, author of No One Can Pronounce My Name. Kristen Radtke, author of Imagine Wanting Only This. Nick Moran, staff writer. Lydia Kiesling, site editor and author of The Golden State. Anne Yoder, staff writer. Michael Bourne, staff writer. Tess Malone, associate editor. Bill Morris, staff writer and author of Motor City Burning. Kaulie Lewis, staff writer. Myriam Gurba, author of Mean. Patrick Nathan, author of Some Hell. Morgan Jerkins, author of This Will Be My Undoing. Michael David Lukas, author of The Last Watchman of Old Cairo. Jamel Brinkley, author of A Lucky Man. Shanthi Sekaran, author of Lucky Boy. Kara Levy, fiction writer. Patty Yumi Cottrell, author of Sorry to Disrupt the Peace. Heather Scott Partington, NBCC emerging critic. Paul Goldberg, author of The Yid. Simeon Marsalis, author of A Lie is To Grin. Kevin Barry, author of Beatlebone. Laura Turner, writer. Sarah Smarsh, journalist. Kyle Chayka, writer. A Year in Reading: Outro Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
Along the way, as I was helicoptered off Algonquin Mountain, wheeled into the Lake Placid ER, then driven by ambulance to Saranac Lake ER and wheeled into midnight surgery, the forest rangers, the nurses, the EMTs and doctors would ask what I did for a living. When I explained I was a writer, the response was often how at least I’ll be able to write about all this when it’s over. I certainly played the part of WRITER, reminding my husband again and again, when I was sprawled out on the trail and waiting to be rescued, to make sure my little green notebook and my pen went with me when I was helicoptered out. I kept this notebook beside me at all times, except for the surgery that would insert a metal rod and screws into my leg and ankle. I planned on recording my observations, the odd angles and discolorations of my leg, the various textures of pain, the bright personalities of the nurses, the sounds from the other hospital rooms, the kindnesses. But here’s a confession: I barely used that notebook. I have three measly pages to cover my first week of injury. My writer self, a previously eager observer of my life’s lows, appeared to be asleep or absent, cowering off in some corner of my mind. I’m still trying to understand why. Despite my lackluster notetaking, I can remember certain moments if I try. My nails digging into my husband’s arm and leaving marks. A stranger covering me with his rain jacket. How I couldn’t stop shaking. The helicopter circling over us, needing to burn off fuel, while the trees around us trembled and blew as if in a storm. I remember asking my husband to shoot me. I remember rising above the trees while strapped into a harness, and suddenly there was so much light from the setting sun. I intended to wave goodbye to my children but I was spinning the wrong way. But there are other moments that I can’t access. In particular, the time between when I was walking down a trail beside some rocks, not even a steep part, and I noticed a man to my lower left, and I was thinking, I do not feel like saying hello to this man, as I was tired of greeting people—then, somehow, I was on my back, and this kind man, the one I didn’t want to greet, was crouched next to me, explaining I’ve been hurt. That I was really hurt. I glanced at my leg, bent in angles that should have been impossible. Then I closed my eyes. Between those two moments, there is nothing. I want to know what my body was doing during that nothing time. More accurately, I want to be able to describe what my body was doing and what I was thinking and feeling. I wish someone was taking a video so I could see myself fall. It’s strange, as a writer, disorienting, to have moments, no matter how brief, unavailable to me. Did I slip? Stumble? Push myself off the rocks? Twist? Flail? Leap? Scream? Cry out? (Apparently the brain stops recording memories during traumatic events, focusing its resources instead on survival, due to increased adrenaline and noradrenaline production, says Scientific American.) I’m glad, of course, my brain stayed focused and I survived. But I still wish my writing self could have been an observer, just as I wish that same self could have been more present during the times of intense pain. When, for instance, the forest ranger was preparing to splint my leg without pain meds while my tibia was almost pushing through my skin. I needed to be splinted before I could be lifted up to the helicopter. “Ready?” the ranger asked. A quiet voice in my head was telling me to pay careful attention, but the voice was so muted, and then I began screaming, as the pain went beyond what was bearable. I went elsewhere, to a place I may never be able to describe, and there is some disappointment about visiting a place, however bleak, where there aren’t words. I am trying to write about my experience three months after the accident. One problem I keep encountering is the fact this was an accident, an awful twist of fate. I write awful but another problem is it wasn’t that bad, not when put into the context of greater suffering in the world. Yes, I felt intense pain while waiting for the helicopter. Yes, the waiting felt infinite but actually it was 2 hours. Yes, the splinting was intolerable, but that lasted no more than a minute. After that, I was rescued, saved, medicated, taken care of. My hospital room had a lakeside view with a loon! I know people have felt much worse, and been more frightened, for much longer. I know some people are never rescued. How can one’s pain be made more interesting? More complex? More relevant? Must pain be complex or interesting or relevant to warrant writing about? How does one write about a violence that has no perpetrator, no blame? Were I assaulted on the mountaintop, had someone thrown me down those rocks, there would be a villain, and presumably a motive, and therefore there would have been a clearer story to tell. But what happened was the trail was slippery, and I slipped. I can’t even blame my boots. I checked them later on. The treads were fine. Everybody was falling that day, my husband has reminded me. He fell moments before I did. A woman fell moments before him, slicing open her arm. At times, it seems I could sum up my accident in a sentence or two. Yet I can’t shake this need to continue writing about it. [millions_ad] The accident happened at the start of an annual family vacation. I was in no shape to drive home, so my initial two weeks of recovery were spent in the Adirondacks, on various beds and scenic benches. I expected I would get much reading and writing done. A mini-writing retreat, I thought! How nice. I made my husband download the stories I was working on to a laptop using the hospital Wi-Fi. I stocked my Kindle with non-fiction I had meant to read months ago. I had my pile of articles about global warming, police surveillance, that sort of thing. But even with time stretching in the way it does in hospitals—eternity was available, nothing was expected of me—any writerly impulse quickly evaporated. Reading non-fiction put me to sleep. Not a deep sleep, but a sleep lasting for only a few minutes. I’d wake up and doggedly read a few more paragraphs before nodding off. My folder of articles lay untouched on my bed. My notebook lay beside me. The laptop remained unopened. I stared at the wall more than I thought possible, the pain meds keeping boredom away. When a volunteer wheeled in what she called her “comfort cart,” I eagerly grabbed for the easy escape of People magazine. Perhaps it’s silly, after an injury, to become frustrated with one’s self for a lack of artistic interest in one’s situation. Perhaps the situation was simply not that interesting. Perhaps it’s okay I found more engagement with the amount of calories a celebrity consumes in a day. But I think there was something more going on, a collection of evidence, or a sinking feeling. The first book I was able to latch onto in the hospital was Cormac McCarthy’s The Road. It’s a novel I come back to every year or two. I read it before I had my first child and thought, well this is rather showy and dramatic, isn’t it. After the birth of my first child, I read it again and wept. I don’t cry anymore at the ending, but I do find solace in its portrayal of an effective parental love and a useful suffering. The dad does manage to save his child in the end, after all. In the hospital setting, I found this novel’s bleakness to be reassuring, its descriptions of the decimated, impersonal, and brutal wilderness to be more accurate than the romantic description of trees I’ve encountered elsewhere. I would read the book, fall asleep several pages in, then wake and read more, and fall asleep, and cry because my leg hurt so much, take the pain meds, and read more. Read in this fragmented way, certain scenes stretched on practically forever. I think the father swimming out to the ship went on for most of one night. I must have reread certain parts, and I was reading so slowly. But I feel like this particular reading of the book was my truest reading, the most accurate. Perhaps suffering, no matter how pointless such suffering is, is the best state of mind when reading a book about suffering. I found solace in the idea that suffering can have a purpose, a goal. Even my suffering, I wondered? A purpose larger than the personal, I wondered? I carried my notebook with me everywhere while I used crutches. I carried it to a second visit to the Saranac Lake ER because my leg had turned a deep rich blue and swelled to an obscene size. “I’m turning into a blueberry. Like Violet Beauregarde!” I told my daughter, who patted me with alarm. I rarely wrote in the notebook. I just carried it, occasionally jotting down commandments from my doctors. Elevate. Ice. Rest. I took the notebook to the final appointment with my surgeon, whom I had fallen in love with. I say this in the most sincere, non-creepy way possible: here was a man who had put my leg back together. A man who had smiled at me with such kindness before the surgery, when I was very frightened, and afterwards, who moved my bandaged leg with great pride. It was like we had created something together. “Look at that!” he said with a little awe, moving my leg up and down. I don’t know how people cannot fall in love with their surgeons. I suppose there is a story waiting somewhere in that proclamation. My writer self eventually did wake up. Proudly, now, it waves around its updated list of things it can write about more accurately and personally: a mountain injury! A helicopter rescue! An ambulance ride! Being wheeled into a frigid operating room and hearing Pink Floyd! Going under for surgery! Metal implants in one’s leg! Becoming hysterical from pain while one’s children watched. The queasy loneliness of a hospital room at night. I could turn it all into a story, adding some kind of tension, or forcing something more to happen. Give the injured wife and her husband a history, perhaps a violent history. Or maybe the child could be the one injured, and the mother would have to watch her child in pain rather than watching her own pain. But part of me has become bored with reshaping the details of my life into a narrative with an exciting enough plot that also satisfies a need for completion and revelation by the story’s end. Part of me wants this experience to be enough as it was. I will get back almost everything that I lost. I’ll be able to walk without a limp. At some point, I should be able to run. My family will go back to the mountains and have a proper vacation. And there have been little gifts along the way. Reading returned to me in a fury once I went off opioids at the end of week two. When was the last time I had so much space to read since I was a child? The Executioner’s Song, Borne, Fever Dream, The Book of Joan, Lincoln in the Bardo, The Handmaid’s Tale, Against Depression. I had love affairs with each of these books. I read gratefully, whole-heartedly, without distraction, as I had nothing else I could do. I read through my insomnia, and I read while my leg was elevated and iced, and I read while doing my physical therapy exercises every three hours, and I read to my children while I rested, and I listened to the books as I hobbled around the block. What I won’t get back are those moments I can’t remember, the falling, the pain. Those are the parts, if I do tell this story someday in its completion, I will have to make up. Here are some of the ways my accident changed me. I will hike less joyfully next summer. I will hesitate on rocky trails. I will bring an emergency beacon and consider trip insurance with helicopter evacuation coverage. I may stop below the ridges of mountains rather than climb. I have lost my certainty that hiking up mountains has a point. What is the point? Gazing at them from a distance might be enough. I hope environmental descriptions in my writing will gain some kind of brutality, that I will say no to romanticism when it suggests itself, especially when the sun is setting on a scene. Because the mountain stood there while I screamed. Of course it did. And then my family, my husband and children, had to climb down it in the dark. Did I ever think nature had a heart? Yes, I suppose I did. Maybe this is the real loss or revelation. We talk so much about trying to save the natural world as if it is a living breathing person. It’s not. It’s still worth saving, but not because of its kindness. Photo courtesy of the author.
Out this week: The Book of Joan by Lidia Yuknavitch; Imagine Wanting Only This by Kristen Radtke; A Line Made by Walking by Sara Baume; The Woman Who Had Two Navels and Tales of the Tropical Gothic by Nick Joaquin; and My Cat Yugoslavia by Pajtim Statovci. For more on these and other new titles, go read our most recent book preview.
We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. For more April titles, check out the Great First-Half 2017 Preview, and let us know what you're looking forward to in the comments. Anything Is Possible by Elizabeth Strout: “As I was writing My Name Is Lucy Barton,” said Strout, the New York Times bestselling author and Pulitzer Prize winner, of her 2016 novel, “it came to me that all the characters Lucy and her mother talked about had their own stories.” Anything is Possible was written in tandem to Lucy Barton. For Strout’s many devoted readers, this novel promises to expand on and add depth to the story, while exploring themes for love, loss, and hope in a work that, “recalls Olive Kitteridge in its richness, structure, and complexity.” (Claire) Marlena by Julie Buntin: I was lucky enough to read an advance copy of Buntin’s remarkable debut novel, about an intense friendship between two young women in rural Michigan, and I agree with Stephanie Danler, author of Sweetbitter, who calls it “lacerating.” Aside from a riveting story and nuanced characters, Buntin has also delivered an important story about addiction and poverty in middle America. In its starred review, Booklist called it “Ferrante-esque.” (Edan) American War by Omar El Akkad: El Akkad is an award-winning Canadian journalist, whose reporting has ranged from the war in Afghanistan to the protests in Ferguson, Mo. His brilliant and supremely disquieting debut novel opens in 2074, at the outbreak of the Second American Civil War, and follows a young Louisiana girl, Sarat Chestnut, as time and conflict gradually transform her from a child into a weapon. (Emily) The Last Neanderthal by Claire Cameron: Our own Cameron returns with a new novel about two women separated by, oh, only 40,000 years: Girl, the eldest daughter in the last family of Neanderthals, and present-day archeologist Rosamund Gale, who is excavating Neanderthal ruins while pregnant. How these two stories echo and resonate with one another will be just one of its delights. Such an ingenious premise could only come from the writer who brought us The Bear, which O, The Oprah Magazine deemed “a tender, terrifying, poignant ride” and which People gave 4 stars, saying “it could do for camping what Jaws did for swimming.” (Edan) No One Is Coming to Save Us by Stephanie Powell Watts: A novel about a black family in North Carolina dealing with economic decline, outsourcing, and the legacy of Jim Crow. Watts's debut has been pitched as a contemporary retelling of The Great Gatsby, but Ron Charles writes in the The Washington Post that Watts hasn't done merely another reboot; she has written a "sonorous, complex novel that’s entirely her own." (Lydia) A Little More Human by Fiona Maazel: A new novel from the author of Woke Up Lonely, Maazel's latest is a superhero story about a mild-mannered mind-reader slash nursing assistant from Staten Island dealing with personal and professional strife. It sounds as though Maazel has rifled deftly through genres to create something in a class entirely by itself. (Lydia) Borne by Jeff VanderMeer: A much-awaited new offering from the author of the breakout hit Southern Reach trilogy (the first volume of which will be a movie later this year). The titular Borne is a small, living "green lump" adopted by a lonely young woman living in a post-apocalyptic city plagued by a roving bear and hazardous waste. Colson Whitehead calls Borne "a thorough marvel." (Lydia) The Book of Joan by Lidia Yuknavitch: In a new kind of world, we need a new kind of hero and a reimagined Joan of Arc from Yuknavitch seems like just the thing. Following her widely lauded The Small Backs of Children, this novel takes place in the near future after world wars have turned the Earth into a war zone. Those surviving are sexless, hairless, pale-white creatures who write stories on their skin, but a group of rebels rally behind a cult leader named Jean de Men. Roxane Gay calls it, “a searing condemnation, and fiercely imaginative retelling.” (Claire) The Woman Who Had Two Navels and Tales of the Tropical Gothic by Nick Joaquin: The first U.S. appearance of one of the Philippines' most distinguished writers, pegged to the centenary of his birth. Joaquin, who died in 2004, wrote in English and set much of his work -- which included two novels and several collections of short stories in addition to essays, plays, and criticism -- in post-WWII Manila, exploring themes of colonialism and liberation, Catholicism and folklore. An exciting introduction for uninitiated American readers into Joaquin's oeuvre. (Lydia) What It Means When a Man Falls from the Sky by Lesley Nneka Arimah: This debut collection of short stories, which takes its name from a story published in Catapult in 2015 to wide acclaim — one that seamlessly blends magical realism and a kind of sci-fi, resulting in a one-of-a-kind dystopia — announces the arrival of a brilliant new talent. Don’t take our word for it: one story, “Who Will Greet You at Home,” appeared in The New Yorker and was a National Magazine Award finalist, and others are already drawing high praise from across the publishing community. These stories explore the ties that bind us together, but in magical, even subversive forms. (Kaulie) Such Small Hands by Andrés Barba: The first offering from a new, Oakland-based, translation-focused nonprofit publisher Transit Press Books, this is the fourth of Spanish novelist Barba's books to appear in English. The novel relates the story of a new girl in an orphanage, and the sinister game she invents with her co-residents. The novel is translated by Lisa Dillman, with an afterword by Edmund White. In a starred review Kirkus warns, "Barba’s girls, and their game, will linger in the minds of his readers." (Lydia)
Although 2016 has gotten a bad rap, there were, at the very least, a lot of excellent books published. But this year! Books from George Saunders, Roxane Gay, Hari Kunzru, J.M. Coetzee, Rachel Cusk, Jesmyn Ward? A lost manuscript by Claude McKay? A novel by Elif Batuman? Short stories by Penelope Lively? A memoir by Yiyun Li? Books from no fewer than four Millions staffers? It's a feast. We hope the following list of 80-something upcoming books peps you up for the (first half of the) new year. You'll notice that we've re-combined our fiction and nonfiction lists, emphasizing fiction as in the past. And, continuing a tradition we started this fall, we'll be doing mini previews at the beginning of each month -- let us know if there are other things we should be looking forward to. (If you are a big fan of our bi-annual Previews and find yourself referring to them year-round, please consider supporting our efforts by becoming a member!) January Difficult Women by Roxane Gay: Gay has had an enormously successful few years. In 2014, her novel, An Untamed State, and an essay collection, Bad Feminist, met with wide acclaim, and in the wake of unrest over anti-black police violence, hers was one of the clearest voices in the national conversation. While much of Gay’s writing since then has dealt in political thought and cultural criticism, she returns in 2017 with this short story collection exploring the various textures of American women’s experience. (Ismail) Human Acts by Han Kang: Korean novelist Kang says all her books are variations on the theme of human violence. The Vegetarian, her first novel translated into English, arrested readers with the contempt showered upon an “unremarkable” wife who became a vegetarian after waking from a nightmare. Kang’s forthcoming Human Acts focuses on the 1980 Korean Gwangju Uprising, when Gwangju locals took up arms in retaliation for the massacre of university students who were protesting. Within Kang tries to unknot “two unsolvable riddles” -- the intermingling of two innately human yet disparate tendencies, the capacity for cruelty alongside that for selflessness and dignity. (Anne) Transit by Rachel Cusk: Everyone who read and reveled in the nimble formal daring of Outline is giddy to read Transit, which follows the same protagonist, Faye, as she navigates life after separating from her husband. Both Transit and Outline are made up of stories other people tell Faye, and in her rave in The Guardian, Tessa Hadley remarks that Cusk's structure is "a striking gesture of relinquishment. Faye’s story contends for space against all these others, and the novel’s meaning is devolved out from its centre in her to a succession of characters. It’s a radically different way of imagining a self, too -- Faye’s self." (Edan) 4321 by Paul Auster: Multiple timelines are nothing new at this point, but it’s doubtful they’ve ever been used in quite the way they are in 4321, Auster’s first novel since his 2010 book Sunset Park. In his latest, four timelines branch off the moment the main character is born, introducing four separate Archibald Isaac Fergusons that grow more different as the plot wears on. They’re all, in their own ways, tied up with Amy Schneiderman, who appears throughout the book’s realities. (Thom) Collected Stories by E.L. Doctorow: Doctorow is known for historical novels like Ragtime and The Book of Daniel, but he also wrote some terrific stories, and shortly before his death in 2015 he selected and revised 15 of his best. Fans who already own his 2011 collection All the Time in the World may want to give this new one a miss, since many of the selections overlap, but readers who only know Doctorow as a novelist may want to check out his classic early story “A Writer in the Family,” as well as others like “The Water Works” and “Liner Notes: The Songs of Billy Bathgate,” which are either precursors of or companion pieces to his novels. (Michael B.) Enigma Variations by André Aciman: The CUNY Professor New York magazine called “the most exciting new fiction writer of the 21st century” returns with a romantic/erotic bildungsroman following protagonist Paul from Italy to New York, from adolescence to adulthood. Kirkus called it an “eminently adult look at desire and attachment.” (Lydia) Scratch: Writers, Money, and the Art of Making a Living, edited by Manjula Martin: Martin ran the online magazine Scratch from 2013 to 2015 and in those two years published some terrific and refreshingly transparent interviews with writers about cash money and how it's helped and hindered their lives as artists. The magazine is no longer online, but this anthology includes many of those memorable conversations as well as some new ones. Aside from interviews with the likes of Cheryl Strayed and Jonathan Franzen, the anthology also includes honest and vulnerable essays about making art and making a career --and where those two meet -- from such writers as Meaghan O'Connell and Alexander Chee. It's a useful and inspiring read. (Edan) Homesick for Another World by Ottessa Moshfegh: A long, dull day of jury duty in 2008 was redeemed by a lunchtime discovery of Unsaid magazine and its lead story “Help Yourself!” by Moshfegh, whose characters were alluring and honest and full of contempt. I made a point to remember her name at the time, but now Moshfegh’s stories appear regularly in The Paris Review and The New Yorker, and her novel Eileen was shortlisted for the 2016 Booker Prize. Her debut collection of stories, Homesick for Another World, gathers many of these earlier stories, and is bound to show why she’s considered one of literature’s most striking new voices. (Anne) Glaxo by Hernán Ronsino: Ronsino’s English-language debut (translated by Samuel Rutter) is only 100 pages but manages to host four narrators and cover 40 years. Set in a dusty, stagnating town in Argentina, the novel cautiously circles around a decades-old murder, a vanished wife, and past political crimes. Allusions to John Sturges’s Last Train From Gun Hill hint at the vengeance, or justice, to come in this sly Latin American Western. (Matt) Lucky Boy by Shanthi Sekaran: Set in Berkeley, Sekaran’s novel follows two women: Soli, an undocumented woman from Mexico raising a baby alone while cleaning houses, and an Indian-American woman struggling with infertility who becomes a foster parent to Soli’s son. Kirkus called it “superbly crafted and engrossing.” (Lydia) A Mother’s Tale by Phillip Lopate: One day in the mid-'80s, Lopate sat down with his tape recorder to capture his mother’s life story, which included, at various times, a stint owning a candy store, a side gig as an actress and singer, and a job on the line at a weapons factory at the height of World War II. Although Lopate didn’t use the tapes for decades, he unearthed them recently and turned them into this book, which consists of a long conversation between himself, his mother, and the person he was in the '80s. (Thom) The Gringo Champion by Aura Xilonen: Winner of Mexico’s Mauricio Achar Prize for Fiction, Xilonen’s novel (written when she was only 19, and here translated by Andrea Rosenberg) tells the story of a young boy who crosses the Rio Grande. Mixing Spanish and English, El Sur Mexico lauded the novel’s “vulgar idiom brilliantly transformed into art.” (Lydia) Selection Day by Aravind Adiga: If Selection Day goes on to hit it big, we may remember it as our era’s definitive cricket novel. Adiga -- a Man Booker laureate who won the prize in 2008 for his epic The White Tiger -- follows the lives of Radha and Manju, two brothers whose father raised them to be master batsmen. In the way of The White Tiger, all the characters are deeply affected by changes in Indian society, most of which are transposed into changes in the country’s huge cricket scene. (Thom) Huck Out West by Robert Coover: Coover, the CAVE-dwelling postmodern luminary, riffs on American’s great humorist in this sequel to Mark Twain’s classic set out West. From the opening pages, in which Tom, over Huck’s objections, sells Jim to slaveholding Cherokees, it is clear that Coover’s picaresque will be a tale of disillusionment. Unlike Tom, “who is always living in a story he’s read in a book so he knows what happens next,” Huck seems wearied and shaken by his continued adventures: “So many awful things had happened since then, so much outright meanness. It was almost like there was something wicked about growing up.” (Matt) Fever Dream by Samanta Schweblin. Nobel Laureate Mario Vargas Llosa called Schweblin “one of the most promising voices in modern literature in Spanish.” The Argentinian novelist’s fifth book, about “obsession, identity and motherhood,” is her first to be translated into English (by Megan McDowell). It’s been described “deeply unsettling and disorientating” by the publisher and “a wonderful nightmare of a book” by novelist Juan Gabriel Vásquez. (Elizabeth) Perfect Little World by Kevin Wilson. Wilson’s first novel, The Family Fang, was about the children of performance artists. His second is about a new mother who joins a sort of utopian community called the “Infinite Family Project,” living alongside other couples raising newborns, which goes well until eventually “the gentle equilibrium among the families is upset and it all starts to disintegrate.” He’s been described by novelist Owen King as the “unholy child of George Saunders and Carson McCullers.” (Elizabeth) Foreign Soil by Maxine Beneba Clarke: Clarke’s award-winning short story collection Foreign Soil is now being published in the U.S. and includes a new story “Aviation,” specifically written for this edition. These character-driven stories take place worldwide -- Australia, Africa, the West Indies, and the U.S. -- and explore loss, inequity, and otherness. Clarke is hailed as an essential writer whose collection challenges and transforms the reader. (Zoë) American Berserk by Bill Morris: Five years ago, a Millions commenter read Morris’s crackling piece about his experience as a young reporter in Chambersburg, Penn., during the 1970s: “Really, I wish this essay would be a book.” Ask, and you shall receive. To refresh your memories, Morris encountered what one would expect in the pastoral serenity of Pennsylvania Dutch country: “Kidnapping, ostracism, the paranormal, rape, murder, insanity, arson, more murder, attempted suicide -- it added up to a collective nervous breakdown.” Morris has plenty to work with in these lurid tales, but the book is also about the pleasure of profiling those “interesting nobodies” whose stories never make it to the front page, no matter how small the paper. (Matt) February Lincoln in the Bardo by George Saunders: For Saunders fans, the prospect of a full-length novel from the short-story master has been something to speculate upon, if not actually expect. Yet Lincoln in the Bardo is a full 368-page blast of Saunders -- dealing in the 1862 death of Abraham Lincoln’s son, the escalating Civil War, and, of course, Buddhist philosophy. Saunders has compared the process of writing longer fiction to “building custom yurts and then somebody commissioned a mansion” -- and Saunders’s first novel is unlikely to resemble any other mansion on the block. (Jacob) The Schooldays of Jesus by J.M. Coetzee: This sequel to the Nobel Prize-winning South African author’s 2013 novel The Childhood of Jesus picks up shortly after Simón and Inés flee from authorities with their adopted son, David. Childhood was a sometimes thin-feeling allegory of immigration that found Coetzee meditating with some of his perennial concerns -- cultural memory, language, naming, and state violence -- at the expense of his characters. In Schooldays, the allegorical element recedes somewhat into the background as Coetzee tells the story of David’s enrollment in a dance school, his discovery of his passion for dancing, and his disturbing encounters with adult authority. This one was longlisted for the 2016 Man Booker Prize. (Ismail) To Be a Machine by Mark O’Connell: Millions staffer and author of Millions Original Epic Fail O’Connell brings his superb writing and signature wit and empathy to a nonfiction exploration of the transhumanist movement, complete with cryogenic freezing, robots, and an unlikely presidential bid from the first transhumanist candidate. O’Connell’s sensibility -- his humanity, if you will -- and his subject matter are a match made in heaven. It’s an absolutely wonderful book, but don’t take my non-impartial word for it: Nicholson Baker and Margaret Atwood have plugged it too. (Lydia) The Refugees by Viet Thanh Nguyen: Pulitzer Prize Winner Nguyen’s short story collection The Refugees has already received starred pre-publication reviews from Kirkus Reviews and Publishers Weekly, among others. Nguyen’s brilliant new work of fiction offers vivid and intimate portrayals of characters and explores identity, war, and loss in stories collected over a period of two decades. (Zoë) Amiable with Big Teeth by Claude McKay: A significant figure in the Harlem Renaissance, McKay is best-known for his novel Home to Harlem -- which was criticized by W.E.B. Dubois for portraying black people (i.e. Harlem nightlife) as prurient -- “after the dirtier parts of its filth I feel distinctly like taking a bath.” The novel went on to win the prestigious (if short-lived) Harmon Gold Medal and is widely praised for its sensual and brutal accuracy. In 2009, UPenn English professor Jean-Christophe Cloutier discovered the unpublished Amiable with Big Teeth in the papers of notorious, groundbreaking publisher Samuel Roth. A collaboration between Cloutier and Brent Hayes Edwards, a long-awaited, edited, scholarly edition of the novel will be released by Penguin in February. (Sonya) Dear Friend, from My Life I Write to You in Your Life by Yiyun Li: The Oakland-based Li delivers this memoir of chronic depression and a life lived with books. Weaving sharp literary criticism with a perceptive narrative about her life as an immigrant in America, Your Life isn’t as interested in exploring how literature helps us make sense of ourselves as it is in how literature situates us amongst others. (Ismail) Autumn by Ali Smith: Her 2015 Baileys prize-winning How to Be Both was an experiment in how a reader experiences time. It has two parts, which can be read in any order. Now, Smith brings us Autumn, the first novel in what will be a Seasonal quartet -- four stand-alone books, each one named after one of the four seasons. Known for writing with experimental elegance, she turns to time in the post Brexit world, specifically Autumn 2016, “exploring what time is, how we experience it, and the recurring markers in the shapes our lives take.” (Claire) A Separation by Katie Kitamura: A sere and unsettling portrait of a marriage come undone, critics are hailing Kitamura's third book as "mesmerizing" and "magnificent." The narrator, a translator, goes to a remote part of Greece in search of her serially unfaithful husband, only to be further unmoored from any sense that she (and in turn the reader) had of the contours of their shared life. Blurbed by no fewer than six literary heavyweights -- Rivka Galchen, Jenny Offill, Leslie Jamison, Teju Cole, Rachel Kushner, and Karl Ove Knausgaard -- A Separation looks poised to be the literary Gone Girl of 2017. (Kirstin B.) Things We Lost in the Fire by Mariana Enriquez: This young Argentinian journalist and author has already drawn a lot of attention for her “chilling, compulsive” gothic short stories. One made a December 2016 issue of The New Yorker; many more will be published this spring as Things We Lost in the Fire, which has drawn advanced praise from Helen Oyeyemi and Dave Eggers. The stories themselves follow addicts, muggers, and narcos -- characters Oyeyemi calls “funny, brutal, bruised” -- as they encounter the terrors of everyday life. Fair warning: these stories really will scare you. (Kaulie) Universal Harvester by John Darnielle. Darnielle is best known for the The Mountain Goats, a band in which he has often been the only member. But his debut novel, Wolf in White Van, was nominated for a number of awards, including the National Book Award for Fiction. His second novel, set in Iowa in the 1990s, is about a video store clerk who discovers disturbing scenes on the store’s tapes. (Elizabeth) 300 Arguments by Sarah Manguso: It's as if, like the late David Markson, Manguso is on a gnomic trajectory toward some single, ultimate truth expressed in the fewest words possible -- or perhaps her poetic impulses have just grown even stronger over time. As its title suggests, this slim volume comprises a sequence of aphorisms ("Bad art is from no one to no one") that in aggregate construct a self-portrait of the memoirist at work. "This book is the good sentences from the novel I didn't write," its narrator writes. (Kirstin B.) The Woman Next Door by Yewande Omotoso: Set in South Africa, Omotoso’s novel describes the bitter feud between two neighbors, both well-to-do, both widows, both elderly, one black, one white. Described by the TLS as one of the “Best Books by Women Every Man Should Read.” (Lydia) Running by Cara Hoffman: The third novel from Hoffman, celebrated author of Be Safe I Love You, Running follows a group of three outsiders trying to make it the red light district of Athens in the 1980s. Bridey Sullivan, a wild teenager escaping childhood trauma in the States, falls in with a pair of young “runners” working to lure tourists to cheap Athenian hotels in return for bed and board. The narrative itself flashes between Athens, Sullivan’s youth, and her friend and runner Milo’s life in modern-day New York City. According to Kirkus, this allows the novel to be “crisp and immediate,” “beautiful and atmospheric,” and “original and deeply sad.” (Kaulie) Lower Ed by Tressie McMillan Cottom: Academic and Twitter eminence McMillan Cottom tackles a subject that, given a recent spate of lawsuits, investigations, and closings, was front-page news for a good part of 2016. Drawing on interviews with students, activists, and executives at for-profit colleges and universities, Lower Ed aims to connect the rise of such institutions with ballooning levels of debt and larger trends of income inequality across the U.S. (Kirstin B.) Abandon Me by Melissa Febos. Febos’s gifts as a writer seemingly increase with the types of subjects and themes that typically falter in the hands of many memoirists: love (both distant and immediate), family, identity, and addiction. Her adoptive father, a sea captain, looms large in her work: “My captain did not give me religion but other treasures. A bloom of desert roses the size of my arm, a freckled ostrich egg, true pirate stories. My biological father, on the other hand, had given me nothing of use but life...and my native blood.” Febos transports, but her lyricism is always grounded in the now, in the sweet music of loss. (Nick R.) Pachinko by Min Jin Lee: A sweeping look at four generations of a Korean family who immigrates to Japan after Japan's 1910 annexation of Korea, from the author of Free Food for Millionaires. Junot Díaz says “Pachinko confirms Lee's place among our finest novelists.” (Lydia) Flâneuse by Lauren Elkin: Following in the literary tradition of Charles Baudelaire, Virginia Woolf and Edgar Allan Poe, Elkin is fascinated by street wanderers and wanderings, but with a twist. The traditional flâneur was always male; Elkin sets out to follow the lives of the subversive flâneuses, those women who have always been “keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk.” In a review in The Guardian, Elkin is imagined as “an intrepid feminist graffiti artist,” writing the names of women across the city she loves; in her book, a combination of “cultural meander” and memoir, she follows the lives of flaneuses as varied as George Sand and Martha Gellhorn in order to consider “what is at stake when a certain kind of light-footed woman encounters the city.” (Kaulie) March Exit West by Mohsin Hamid: In an unnamed city, two young people fall in love as a civil war breaks out. As the violence escalates, they begin to hear rumors of a curious new kind of door: at some risk, and for a price, it’s possible to step through a portal into an entirely different place -- Mykonos, for instance, or London. In a recent interview, Hamid said that the portals allowed him “to compress the next century or two of human migration on our planet into the space of a single year, and to explore what might happen after.” (Emily) The Idiot by Elif Batuman: Between The Possessed -- her 2010 lit-crit/travelogue on a life in Russian letters and her snort-inducing Twitter feed, I am a confirmed Batuman superfan. This March, her debut novel samples Fyodor Dostoevsky in a Bildungsroman featuring the New Jersey-bred daughter of Turkish immigrants who discovers that Harvard is absurd, Europe disturbed, and love positively barking. Yet prose this fluid and humor this endearing are oddly unsettling, because behind the pleasant façade hides a thoughtful examination of the frenzy and confusion of finding your way in the world. (Il’ja R.) White Tears by Hari Kunzru: A fascinating-sounding novel about musical gentrification, and two white men whose shared obsession with hard-to-find blues recordings leads them to perdition. In a starred review, Publishers Weekly called White Tears "perhaps the ultimate literary treatment of the so-called hipster, tracing the roots of the urban bedroom deejay to the mythic blues troubadours of the antebellum South.” (Lydia) South and West: From a Notebook by Joan Didion: Excerpts from two of the legendary writer’s commonplace books from the 1970s: one from a road trip through the American south, and one from a Rolling Stone assignment to cover the Patty Hearst trial in California. Perhaps the origin of her observation in Where I Was From: “One difference between the West and the South, I came to realize in 1970, was this: in the South they remained convinced that they had bloodied their land with history. In California we did not believe that history could bloody the land, or even touch it.” (Lydia) All Grown Up by Jami Attenberg: A novel about a 39-year-old woman taking stock of her life, from the best-selling author of The Middlesteins and St. Mazie. This one prompted Eileen Myles to ask “Is all life junk -- sparkly and seductive and devastating -- just waiting to be told correctly by someone who will hold our hand and walk with us a while confirming that what we’re living is true.” Evidently so. (Lydia) Ill Will by Dan Chaon: Dustin Tillman was a child when his parents and aunt and uncle were murdered in his home, and it was his testimony that sent his older, adopted brother, Rusty, to jail for the crime. Forty years later, he learns that Rusty is getting out based on new DNA evidence. As that news sends tremors through Dustin’s life and the life of his family, he buddies up with an ex-cop who has a theory about some local murders. As often happens in Chaon’s book, you’ll be gripped by the story and the characters from the first page, and then all of a sudden you suspect that nothing is as it seems, and you’re sucked in even further. (Janet). The Accusation by Bandi: For readers interested in a candid look at life in North Korea, The Accusation -- originally published in South Korea in 2014 -- will immerse you via the stories of common folk: a wife who struggles to make daily breakfast during a famine, a factory supervisor caught between denouncing a family friend and staying on the party's good side, a mother raising her child amidst chilling propaganda, a former Communist war hero who is disillusioned by the Party, a man denied a travel permit who sneaks onto a train so he can see his dying mother. Bandi is of course a pseudonym: according to the French edition, the author was born in 1950, lived in China, and is now an official writer for the North Korean government. The stories, written between 1989 and 1995, were smuggled out by a friend -- and will be available to us via Grove Press. (Sonya) The Twelve Lives of Samuel Hawley by Hannah Tinti: This new novel by the editor of One Story magazine follows a career criminal who goes straight to give his daughter a chance at a normal life. But when his daughter, Loo, gets curious about the 12 mysterious scars on her father’s body, each marking a separate bullet wound, she uncovers a history much darker than she imagined. Twelve Lives is “is one part Quentin Tarantino, one part Scheherazade, and twelve parts wild innovation,” says Ann Patchett, author of Commonwealth. (Michael B.) The Night Ocean by Paul La Farge: Fiction meets history in The Night Ocean's series of intricately nested narratives. A psychologist's husband, obsessed with a did-they-or-didn't-they affair between horror writer H.P. Lovecraft and a gay teenage admirer, disappears while attempting to solve the mystery. Set over a 100-year period and spanning latitudes from Ontario to Mexico City, this novel from New Yorker contributor La Farge promises to pull Lovecraft's suspense into the present day with flair. (Kirstin B.) Wait Till You See Me Dance by Deb Olin Unferth: Unferth is an author about whom many overused litspeak cliches are true: she is incisive, bitingly funny, and -- here it comes--— whipsmart. A National Book Critics Circle Award finalist for her memoir, Revolution, her short stories have been published in Granta, McSweeney’s, and the Paris Review, and are collected here for the first time. (Janet) April Anything Is Possible by Elizabeth Strout: “As I was writing My Name Is Lucy Barton,” said Strout, the New York Times bestselling author and Pulitzer Prize winner, of her 2016 novel, “it came to me that all the characters Lucy and her mother talked about had their own stories.” Anything is Possible was written in tandem to Lucy Barton. For Strout’s many devoted readers, this novel promises to expand on and add depth to the story, while exploring themes for love, loss, and hope in a work that, “recalls Olive Kitteridge in its richness, structure, and complexity.” (Claire) Devil on the Cross by Ngũgĩ wa Thiong’o: Set in post-colonial Kenya, this troubling allegory from the perennial Nobel candidate explores the evil that men do and the hope that serves as its only antidote. Written while in prison, the book’s proverbial structure and unapologetically political message -- think Karl Marx delivering liberation theology in East Africa -- follow a young Kenyan woman, Jacinta Wariinga, who, despite grave injustice, is determined to see neither her spirit nor her culture crushed. This is the original 1982 translation from the Gikuyu language, now being rereleased as part of the Penguin Classics African Writers Series. (Il’ja) Marlena by Julie Buntin I was lucky enough to read an advance copy of Buntin's remarkable debut novel, about an intense friendship between two young women in rural Michigan, and I agree with Stephanie Danler, author of Sweetbitter, who calls it "lacerating." Aside from a riveting story and nuanced characters, Buntin has also delivered an important story about addiction and poverty in middle America. In its starred review, Booklist called it "Ferrante-esque." (Edan) American War by Omar El Akkad: El Akkad is an award-winning Canadian journalist, whose reporting has ranged from the war in Afghanistan to the protests in Ferguson, Mo. His brilliant and supremely disquieting debut novel opens in 2074, at the outbreak of the Second American Civil War, and follows a young Louisiana girl, Sarat Chestnut, as time and conflict gradually transform her from a child into a weapon. (Emily) The Book of Joan by Lidia Yuknavitch: In a new kind of world, we need a new kind of hero and a reimagined Joan of Arc from Yuknavitch seems like just the thing. Following her widely lauded The Small Backs of Children, this novel takes place in the near future after world wars have turned the Earth into a war zone. Those surviving are sexless, hairless, pale-white creatures who write stories on their skin, but a group of rebels rally behind a cult leader named Jean de Men. Roxane Gay calls it, “a searing condemnation, and fiercely imaginative retelling.” (Claire) The Last Neanderthal by Claire Cameron: Our own Cameron returns with a new novel about two women separated by, oh, only 40,000 years: Girl, the eldest daughter in the last family of Neanderthals, and present-day archeologist Rosamund Gale, who is excavating Neanderthal ruins while pregnant. How these two stories echo and resonate with one another will be just one of its delights. Such an ingenious premise could only come from the writer who brought us The Bear, which O, The Oprah Magazine deemed "a tender, terrifying, poignant ride" and which People gave 4 stars, saying "it could do for camping what Jaws did for swimming." (Edan) Startup by Doree Shafrir: Probably you know Shafrir by her byline at Buzzfeed -- her culture writing always whipsmart, current, and grounded. Shafrir’s debut novel sounds like more of the same: three people working in the same Manhattan office building with colliding desires, ambitions, and relations, head for major conflict and reckoning as scandal sucks each of them into a media-and-money vortex. Hilarity, a mindfulness app, and an errant text message are also involved. Looking forward to this one. (Sonya) What It Means When a Man Falls from the Sky by Lesley Nneka Arimah: This debut collection of short stories, which takes its name from a story published in Catapult in 2015 to wide acclaim -- one that seamlessly blends magical realism and a kind of sci-fi, resulting in a one-of-a-kind dystopia -- announces the arrival of a brilliant new talent. Don’t take our word for it: one story, “Who Will Greet You at Home,” appeared in The New Yorker and was a National Magazine Award finalist, and others are already drawing high praise from across the publishing community. These stories explore the ties that bind us together, but in magical, even subversive forms. (Kaulie) Void Star by Zachary Mason: In Mason’s second novel, three people living in wildly different circumstances in a dystopian near-future are drawn together by mysterious forces. The future that Mason imagines in Void Star is not particularly startling -- extreme climate change, ever-widening class divisions, and AIs who have evolved well beyond the understanding of the humans who created them -- but what sets Void Star apart is the stunning and hallucinatory beauty of Mason’s prose. Both a speculative thriller and a meditation on memory and mortality. (Emily) Imagine Wanting Only This by Kristen Radtke: I tell as many people as possible how cool I think Radtke is, so that when she blows up I’ll have proof that I was ahead of the curve. Besides having her own career as a writer and illustrator, she is the managing editor of Sarabande Books (where she not only published Thrown by Kerry Howley -- one of my favorite books of the last 5 years -- but designed its killer cover). Her first book is graphic memoir/travelogue about her life, family history, and a trip around the world in search of ruins. (Janet) Sunshine State by Sarah Gerard: The author goes home in Gerard’s thorough, personal, and well-researched collection of essays on Florida, its inhabitants, and the ways they prey upon each another. As far as Floridian bona fides, it doesn’t get much more Sunshine State than growing up on the Gulf in an Amway family, and truly in the book’s eight essays, Gerard covers more of the state’s ground than Walkin’ Lawton Chiles. (Nick M.) Kingdom of the Young by Edie Meidav: A new collection of the stories by novelist who brought us Lola, California, Crawl Space, and The Far Field. The stories have invited comparisons to Vladimir Nabokov, Clarice Lispector and Italo Calvino. (Lydia) May Men Without Women by Haruki Murakami: The seven stories in Murakami’s new collection concern the lives of men who, for one reason or another, find themselves alone. In “Scheherazade,” a man living in isolation receives regular visits from a woman who claims to remember a past life as a lamprey; in “Yesterday,” a university student finds himself drawn into the life of a strange coworker who insists that the student go on a date with his girlfriend. (Emily) The Purple Swamp Hen by Penelope Lively: Across her many wonderful books, Lively has ranged from low farce (How It All Began) to high feeling (Moon Tiger), from children’s literature to a memoir on old age. Now comes her fourth story collection, the first in 20 years. The title story draws on reliably entertaining source material: the meretricious lives of Roman rulers. Robert Graves turned to a stammering Claudius for his narrator, Lively to a less exalted personage: a purple swamp hen. Other stories involve trouble: a husband and wife working their way out of it, and a betrayed wife doing her best to cause some for her husband. (Matt) Woman No. 17 by Edan Lepucki: Our own Lepucki has always had keen insight into the psyches of women -- particularly so-called "difficult" protagonists. Her first novel, California, may have been about a family surviving the end of society, but it was really a post-apocalyptic domestic drama full of sharp wit and observations. Her sophomore effort is more grounded in reality but equally cutting. Lady is a writer struggling to raise her two kids and finish her memoir when she hires S. to help, but the artist becomes more than just a nanny for Lady’s eldest troubled son. (Tess M.) Trajectory by Richard Russo: In this new collection, Russo, a 2016 Year in Reading contributor, takes a break from the blue-collar characters that readers have come to know from his bestselling novels Nobody’s Fool and Empire Falls to spin tales of struggling novelists trying their hands at screenwriting and college professors vacationing in Venice. No matter. Readers can still count on Russo to deliver deeply human stories of heartbreak leavened by gently black humor. (Michael B.) The Dinner Party by Joshua Ferris: The book after Ferris’s Man Booker shortlisted To Rise Again at a Decent Hour is a collection of short stories. The title story, first published by The New Yorker in 2008, is about a couple who invite a boring couple over to dinner (“even their goddam surprises are predictable,”) only to be surprised when the boring couple manage to surprise by not showing up. The collection pulls together stories that promise the, “deeply felt yearnings, heartbreaking absurdity, and redemptive humor of life,” for which Ferris is so well known. (Claire) The Leavers by Lisa Ko. Ko’s debut novel has already won the 2016 Pen/Bellwether Award for Socially Engaged Fiction, a prize created and selected by Barbara Kingsolver. The contest awards a novel “that addresses issues of social justice and the impact of culture and politics on human relationships,” and Ko’s book certainly fits that laudable description. The novel is the story of Deming Gao, the son of a Chinese-American immigrant mother who, one day, never returns home from work. Adopted by white college professors, Deming is renamed and remade in their image -- but his past haunts him. (Nick R.) Isadora by Amelia Gray. The endlessly inventive Gray (whose story “Labyrinth” from The New Yorker is a gem) creates a fictional interpretation of Isadora Duncan, once described as the “woman who put the Modern into Modern Dance.” A dancer who mixed the classical, sacred, and sensual, Duncan is the perfect subject matter for Gray; if a writer can expertly resurrect the Theseus myth at a small-town fair, then she can do justice to a life as inspiring -- and troubled -- as Duncan’s. (Nick R.) Chemistry by Weike Wang: In this debut novel, a graduate student in chemistry learns the meaning of explosive when the rigors of the hard sciences clash with the chronic instability of the heart. A traditional family, a can’t-miss fiancé, and a research project in meltdown provide sufficient catalyst to launch the protagonist off in search of that which cannot be cooked up in the lab. If the science bits ring true, in her diabolical hours, the author doubles as a real-life organic chemist. (Il’ja R.) No One Can Pronounce My Name by Rakesh Satyal: Satyal’s novel takes place in a suburb near Cleveland and tells the story of Harit and Ranjana, who are both Indian immigrants that are experiencing loss. Harit’s sister has passed away and he’s caring for his mother; Ranjana’s son has left to college and she’s worrying her husband is having an affair. These two characters form a friendship amidst grief and self-discovery in a novel that is both heartfelt and funny. (Zoë) Bad Dreams and Other Stories by Tessa Hadley: The New Yorker stalwart (whose title story “Bad Dreams” appeared in the magazine in 2013) comes out with her third collection of short stories in the past decade. In one set in 1914, a schoolteacher grapples with the rising power of the women’s suffrage movement; in another, a young housesitter comes across a mysterious diary. In general, the stories let tiny events twirl out into moments of great consequence -- in the title story, a young child’s nightmare turns out to be the hinge of the plot. (Thom) One Day We’ll All Be Dead and None of This Will Matter by Scaachi Koul. Ah, the current frontrunner for Most Relatable Title of the Coming Year. The Canadian writer’s debut essay collection is “about growing up the daughter of Indian immigrants in Western culture, addressing sexism, stereotypes, and the universal miseries of life.” Fans of her work online will be eager to see her on the printed page. Canadian journalist (and Koul’s former journalism professor) Kamal Al-Solaylee said of her writing, “To me, she possesses that rarest of gifts: a powerful, identifiable voice that can be heard and appreciated across platforms and word counts.” (Elizabeth) Salt Houses by Hala Alyan: In her debut novel, Alyan tells the story of a Palestinian family that is uprooted by the Six-Day War of 1967 and Saddam Hussein’s invasion of Kuwait in 1990. This heartbreaking and important story examines displacement, belonging, and family in a lyrical style. (Zoë) June So Much Blue by Percival Everett: In Everett’s 30th book, an artist toils away in solitude, painting what may be his masterpiece. Alone in his workspace, secluded from his children, best friend, and wife, the artist recalls memories of past affairs, past adventures, and all he’s sacrificed for his craft. (Nick M.) The Accomplished Guest by Ann Beattie: 1976 was a good year for Beattie: she published her first story collection, Distortions, as well as her debut novel, Chilly Scenes of Winter. Forty years and roughly 20 books later, Beattie has a new collection of stories, closely following last year’s The State We’re In, linked stories set in Maine. One defining trait of Beattie’s short fiction is her fondness for quirks: “However well you write, you can become your own worst enemy by shaping it so highly that the reader can relate to it only on its own terms. Whereas if you have some little oddities of everyday life that aren’t there to be cracked, it seems to me that people can identify with it.” (Nick R.) Hunger by Roxane Gay: A few years ago, Gay wrote Tumblr posts on cooking and her complex relationship with food that were honest yet meditative. It was on the cusp of her breakthrough essay collection Bad Feminist. Now she may be a household name, but her second nonfiction book delves into the long-running topic of the role food plays in her family, societal, and personal outlook with the same candor and empathy. (Tess M.) The Last Kid Left by Rosecrans Baldwin: The Morning News cofounder and author of Paris, I Love You but You’re Bringing Me Down returns with a murder mystery/romance/coming-of-age story set in New Hampshire. (Lydia) Dear Cyborgs by Eugene Lim: Lim has long been publisher of the small, avant-garde Ellipsis Press, whose authors, including Joanna Ruocco, Evelyn Hampton, Jeremy M. Davies, and Lim himself, are remarkable for their unique voices, their attention to language and experimentation. Together they make a significant if lesser-known body of work. Dear Cyborg, Lim’s third novel, will be his first with a major press (FSG). Tobias Carroll has said, “Lim’s novels tread the line between the hypnotically familiar and the surreptitiously terrifying.” With comparisons to Tom McCarthy and Valeria Luiselli and praise from Gary Lutz and Renee Gladman, Lim’s work is worth seeking out. (Anne) The Gypsy Moth Summer by Julia Fierro: In this follow-up to Cutting Teeth, about a zeitgeisty group portrait of Brooklyn hipster moms, Fierro turns back the clock to the summer of 1992 when a plague of gypsy moths infests Avalon, an islet off the coast of Long Island, setting in motion a complex tale of interracial love, class conflict, and possible industrial poisoning at the local aircraft factory. Joanna Rakoff, author of My Salinger Year, says Fierro, director of Brooklyn’s Sackett Street Writers’ Workshop, has written “a novel to slowly savor, settling in with her characters as you would old friends.” (Michael B.) The City Always Wins by Omar Robert Hamilton: A debut novel about the Egyptian revolution from filmmaker and activist Hamilton, who has written about the events of Tahrir square for The Guardian and elsewhere. (Lydia) And Beyond Sing, Unburied, Sing by Jesmyn Ward: The Odyssey has been repeatedly invoked by early reviewers of Sing, Unburied, Sing, which follows its protagonist on the journey from rural Mississippi to the state penitentiary and beyond. In the hands of a less talented writer, that parallel might seem over-the-top, but in the hands of one of America’s most talented, generous, and perceptive writers, it’s anything but. (Nick M.) The Passenger by Cormac McCarthy: What does Niels Bohr's take on quantum mechanics have to do with Johann Sebastian Bach and the suicide of a young New Orleans woman? Perhaps nothing. Or perhaps this, overheard at an advance reading -- from 2015 -- of Cormac McCarthy’s long-awaited new novel: "Intelligence is numbers; it's not words. Words are things we made up." That semi-colon haunts me. From Knopf: a “book one” and “book two” by McCarthy are set for a March 2017 release. A week later the story changes. Maybe July. Perhaps December. With McCarthy, the calculus remains inscrutable but the wait worth it. (Il’ja R.) And So On by Kiese Laymon: We’ve learned virtually nothing new about this book since our last preview, but continue to expect it in 2017. As I said then, “Laymon is a Mississippi-born writer who has contributed to Esquire, ESPN, the Oxford American, Guernica, and writes a column for The Guardian. His first novel, Long Division, makes a lot of those 'best books you’ve never heard of' lists, so feel free to prove them wrong by reading it right now. What we know about his second novel is that he said it’s ‘going to shock folks hopefully. Playing with comedy, Afro-futurist shit and horror.’” (Janet) The Seventh Function of Language by Laurent Binet: A madcap critical theory mystery by the author of HHhH. In the new novel, a police detective comes up against the likes of Jacques Derrida, Umberto Eco, Gilles Deleuze, Michel Foucault, Judith Butler, and Julia Kristeva. It sounds bonkers. (Lydia) Sour Heart by Jenny Zhang: Zhang’s got range: the poet/Rookie writer/essayist/ and now fiction writer has a voice that’s at once incisive and playful and emboldened. “If I fart next to a hulking white male and then walk away, have I done anything important?” she asks in her chapbook Hags, when wondering about ways to fight imperialism; she has written of encounters with white privilege as a Chinese American, of messiness and feelings and depression, of errata and text messages and Tracey Emin, and of resisting Donald Trump. Zhang’s sure to bring this force to her first collection of short stories, Sour Heart, which will be the first book published by Lena Dunham’s Lenny imprint. (Anne) Made for Love by Alissa Nutting: Hazel ran out of her husband and moved into her father’s retirement community, a trailer park for senior citizens. She’s laying low for a while. Things are complicated, though. Her husband is the founder and CEO of Gogol Industries, a tech conglomerate bent on making its wares ubiquitous in everyday life, and he’s determined to use the company’s vast, high-tech resources to get her back. Meanwhile, did I mention Hazel’s father is obsessed with a realistic sex robot? (Nick M.) What We Lose by Zinzi Clemmons: A debut novel from Apogee Journal cofounder and contributing editor at LitHub. Thandi loses her South African mother and navigates the process of grieving and growing up in Pennsylvania. (Lydia) And Now We Have Everything by Meaghan O’Connell: Millions Year in Reading alum and New York magazine’s The Cut columnist O’Connell will bring her signature voice to a collection of essays about motherhood billed as “this generation’s Operating Instructions.” Readers who follow O’Connell’s writing for The Cut or her newsletter look forward to a full volume of her relatable, sometimes mordant, sometimes tender reflections on writing and family life. (Lydia) This Will Be My Undoing by Morgan Jerkins: Jerkins is way too accomplished for her age, but her range of skills and interests - 19th-century Russian lit, postwar Japanese lit, speaker of six languages, editor, assistant literary agent -- is so awesome I just can’t begrudge her. Jerkins writes reportage, personal essays, fiction, profiles, interviews, literary criticism, and sports and pop culture pieces. Now she has an essay collection coming out: This Will Be My Undoing. Some of her previously published essays include "The Psychic Toll of Reading the News While Black", "Why I Got a Labiaplasty in My 20s", and "How Therapy Doesn't Make Me a Bad Christian" -- all of which may or may not be collected in the new book; but you get a feel for the great stuff we can expect. (Sonya) Sharp by Michelle Dean: Dean has made a name for herself as an astute feminist journalist and critic for the likes of The Guardian, the New Republic, and The Nation. Her work often focuses on the intersection of crime, culture, and literature. So it's fitting that her first book is nonfiction on other powerhouse female critics. (Tess M.)