As a writer who is still working on her debut novel manuscript, I can’t resist the temptation to feel as though every author who has her name splashed across a cover in a bookstore is the happiest writer who has ever written. She is, after all, published; after working hard, her best work is polished and released, and out for the world to consume. Despite, as writers, knowing how easily and often our relationship with our own work fluctuates, we can sometimes silently impose an expectation on published authors that they should retain a permanently positive relationship with their books once they’re in print. Perhaps it’s ungrateful if they don’t. They could, after all, still be struggling like so many of us. Is it actually that easy, though? Does a writer love all of his published works as much as the day they were released -- or as much as we on the outside expect him to? Or does he actually want to burn every copy each time he sees an open flame? I asked six writers to look back on their debut novels, released as many as 25 years ago, and talk about how their relationships with their books have evolved with time and distance. 1. Colum McCann on Songdogs (1995) My first novel, Songdogs, was actually my second book, after a collection of stories, Fishing the Sloe-Black River. I was in my mid-20s when I wrote it. I recall my agent saying that the first draft felt like it had been “preserved in aspic.” Basically, he was saying that it was god-awful. He was right, too. I got a second chance and wrote and rewrote and rewrote. I have a bit of a contradictory relationship with that book, which is now about 25 years old. I think I’m correct in saying that it’s a young man’s novel, flawed and flaring. I would never read it again -- why spend my time with my own work when I can read someone else’s? -- but there are parts of it that still rattle my tired memory. Thirteen Ways of Looking (Random House) is forthcoming on October 13. 2. Alexander Chee on Edinburgh (2001) I'm probably more proud of [Edinburgh now] than I was at the time it appeared. At the time, the struggle to publish it had consumed me -- it took 24 rejections and two and a half years to find a publisher. I think I somehow internalized all those rejections. And so the eventual celebration when it appeared at last got a somewhat chilled embrace from me, even once it went better than I had expected. People kept saying to me, “Aren't you happy?” And I couldn't quickly answer. I was thinking, “Well...I don't know.” A sort of anhedonia had set in. That feeling puzzled me for a long time. I understand it now, though -- I was braced for something bad to happen, one last disaster. But it didn’t happen, and now I can celebrate it wholeheartedly. The Queen of the Night (Houghton Mifflin Harcourt) is forthcoming on February 2. 3. Jami Attenberg on Instant Love (2007) I actually have a real fondness for my first book, Instant Love. I wasn't in an MFA program, and it had been more than a decade since I’d studied writing as an undergrad, so the book was constructed mainly on passion and voice and life experience rather than anything strategic or structural or academic. I just really stumbled my way through the writing of it, had no expectations, and was just happy it sold. Now that book feels as pure to me as anything I've ever written. When people tell me that they've read it, I get a little choked up thinking about that time in my life. I’m serious! I definitely think of that book as my first love. 4. Emily St. John Mandel on Last Night in Montreal (2009) My first three novels were recently reissued, and I had the opportunity to read through them and make minor changes and corrections prior to publication. It was interesting to revisit them after all these years, especially my first novel, Last Night in Montreal. I think that novel’s by far the weakest of my books. I’m mystified that it gets more attention than my second and third novels, and if I were to write that story now I would go about it in a completely different way, but I was reassured to find upon rereading that I didn’t dislike it. Looking at it again was like opening a time capsule: there was a sense of “Oh, this is how I wrote in my early-to-mid-20s, when my sensibility was almost completely different.” 5. Justin Taylor on The Gospel of Anarchy (2012) Gospel was brutally reviewed upon publication, for reasons that I felt -- and still feel -- were largely unfair, and only tangentially related to its contents. A lot of people wanted it to be pure punk rock slapstick, and so decided in advance that it probably would be, and so were more than a little bit put off by what turned out to be a dense, recursive, intermittently X-rated meditation on theology. The book’s great crime, in the critical consensus, was in taking its own central question seriously, namely: Is there a vantage point from which Christianity and anarchism appear (or are revealed) to be, one and the same thing? This is not to say I posed this as elegantly as I could have, or that anyone other than me is obliged to agree with my answer or even care what the possible answers are -- it may not be a great novel, who knows? -- but many critics seemed to be offended that I had asked the question in the first place. It was the refusal to engage, and the smug self-satisfaction of the unengaged, that hurt me far more than the negativity itself. I started this paragraph planning to say that I’m no longer as upset by this as I was then, but it’s obviously not true. I'm still upset -- maybe not in a day-to-day “Arya Stark’s revenge list” way, but still. I hate the part of American culture that prides itself on its shallowness, the cold and at least honest “fuck you” reduced even further to the squirrelly and smirking “WTF,” and I hate that we -- literary culture -- have allowed the infection to cross our borders. One does try to be a good literary citizen, and most of the time it’s a decent country to be citizen of, but other times it feels like you’re wading to middle school through a waist-deep river of shit. So, let me end on a positive -- and sane -- note by mentioning my single favorite response to The Gospel of Anarchy, which came in the form of a nine-panel comic by Horn! Reviews, which is the project of Kevin Thomas. He just understood exactly what I was after, met me where I was, produced art in response to art. All of which reassured me, at a time when I needed to hear it, that I wasn’t completely nuts to have gone about things the way I did. If Gospel ever gets reissued, his comic is going on the cover. In fact, there won't be anything else on the cover. The whole cover will just be it.” 6. Anthony Marra on A Constellation of Vital Phenomena (2013) I still do get a jolt of pride whenever I see Constellation in a bookstore, but now it’s more a nod across the room to an old friend. The greatest change has been the realization that when you publish a book, it stops being yours and begins belonging to whoever reads it. At an event a couple months back, a woman asked a question about the specifics of a particular plot point. I haven’t read Constellation since I finished writing it four years ago, and to my embarrassment, I’d forgotten the exact details of the scene in question. A couple other people in the crowd immediately jumped in with their own interpretations and I silently stood at the podium, relieved to listen to readers tell me what my book is about. The Tsar of Love and Techno (Hogarth) is forthcoming on October 13.
Rejections bring writers together. We trade stories of abysmally long response times, boilerplate replies addressed Dear writer, and the requisite practice of pinning rejection slips to walls. F. Scott Fitzgerald covered his bedroom with the 122 rejections he received in the spring of 1919 alone. Stephen King “pounded a nail” into the wall to “impale” his rejections. Rebecca Skloot displays her rejections for The Immortal Life of Henrietta Lacks as a constant reminder of editorial subjectivity. The screens of our computers and phones have replaced the archetypal wall of printed rejections. Social media inflames the Cult of Rejection, a melodramatic threnody of authorial frustration. Before I sound too sanctimonious, I admit participation in these public complaints. It is cathartic to scream in electronic silence. Rejection is a reminder that writers are vulnerable and sensitive -- and yet still pugilistic. To write is to tempt constant rejection. The statistical inevitability of rejection does not lessen the sting. Despite these airings of shared failure, when we close the door and sit at our own desks, it easy to think that we are alone in disappointment. I asked writers whose work I admire to share their most formative rejections, whether they came from magazines, publishers, or even professors. I appreciate their candor about those moments when they realized how to fail better. Because I have asked to air their confessions, I should share one of my own. As a graduate student in theology, I wrote an essay of biblical criticism. I was not new to the world of submissions -- I had already published a book of poems and had placed fiction in magazines like Esquire and The Kenyon Review -- but my scholarship was literary, not biblical. I have always been interested in the penitent thief in Luke’s Gospel. In the scene, thieves are crucified on both sides of Jesus. The criminals mock him. Unlike the version of the story in Matthew and Mark, the thief in Luke’s narrative is regretful and contemplative. He believes that Jesus does not deserve this brutal punishment. I submitted my essay to Catholic Biblical Quarterly, a peer-reviewed publication of biblical criticism that has appeared since 1939. A few months later, I received a response. The editor prefaced the publication’s attached decision with a warning: “I wish that they could contain more welcome news.” Submitters to literary magazines complain about form rejections. We are lucky. Peer reviews replace ambiguity with dissection. The first reviewer considered my work incomplete, but made useful suggestions for improvement. He appreciated the patristic exegesis in the latter half of the essay, but thought I needed to study the original Greek text of Luke, and reference further examinations of the pericope. The other reviewer was less kind. “The paper is not publishable,” he began. He skewered my essay, reveling in the evisceration. Now that my literary wound has healed, his railing is entertaining and often prescient: he wondered if he was being “too harsh, since I suspect that the author is a student.” He said my essay lacked a thesis. “It is unclear how any of [the essay’s] parts relate to one another,” he wrote; “there is no coherent argument.” The reviewer's main bone was my usage of critical language. He called it “persistent and irritating,” and produced a litany of moments where I had folded the language of literary criticism into the language of biblical criticism. I could almost feel the exhale of disgust at the end of his review. While I would later publish a book of literary criticism, I never returned to the biblical side of scholarship. I had tried to stretch myself too wide. Pride blurred my vision. I had assumed that my experiences in one genre translated to competency in another. I had forgotten that the term “writer” is not all-inclusive: there are so many different writers, so many different forms. Only when I step outside the world of literary magazines do I realize the narrow and fine nature of that world. It took sustained rejection to remind me what I could do well -- and what type of writing should remain a hobby. I am now thankful for the rejections that used to frustrate me. I am also thankful for sharing the experiences of others. Pity the writer who thinks or he or she is finished learning from failure. Here are seven writers on their most formative rejections. 1. Tomás Q. Morin (A Larger Country) I've never received the kind of rejection letter that becomes infamous for its cruelty or the one filled with over-the-top praise in spite of the No waiting at the end. Once a year for nine years, I submitted to Poetry magazine and every year they said no. Rather than be discouraged, I relished the yearly chance to put in front of Chris Wiman (then the editor), Don Share, & Co. a poem they couldn't turn away. Sometimes the rejection would be a form letter, while other times someone would scribble “send more work.” When the first Yes finally arrived, I had learned that you can develop a relationship with an editorial staff as much through their rejections of your work as you can through their acceptances. This is why I always tell young writers to not give up on a magazine they love just because an editor said no once. 2. Pamela Erens (The Virgins and The Understory) I once took part in an ongoing creative writing workshop run by an inspired teacher. I learned a great deal from him -- to this day my writing process remains highly influenced by him -- but he had a very particular pedagogy and very emphatic opinions. When he dismissed a piece of writing, it stayed dismissed. At a certain point, he had to travel for a few months, and a substitute took over the class, herself a gifted writer and teacher. I started a new short story during that time, and got a lot of encouragement from her and the class through successive revisions. Then the original teacher returned. He completely trashed the story; it was all wrong. No one dared to contradict him, of course. Nor was there was going to be any discussion of what had brought my story to this point or where I hoped to go with it. I was crushed -- and also furious. When I finally was able to think calmly, I realized that I needed to break away somewhat from this teacher’s orbit. I applied for my first-ever summer writer’s conference, and there I got to know writers other than those in his classes, as well as teachers who taught in other ways. Later, online, I developed a larger network of writing colleagues, generous people who encouraged my work and supported me emotionally. I stayed in my workshop teacher’s class for a while longer, but I never let myself become so dependent on one person’s opinion or ideas about writing again. Artists are very vulnerable people. We don’t know what the hell we’re doing a lot of the time, and it becomes easy to transform someone else into a guru who has the Word. 3. Justin Taylor (The Gospel of Anarchy and Flings) When I was in grad school, or maybe just after, I was introduced to an Editor at an Important Magazine and pitched her -- within 10 minutes, while sitting at a bar, which itself was deeply uncool -- on a few ideas, but mostly on the idea of me doing something -- anything -- for her magazine. She was gracious about it, and my ideas weren't awful, so she told me to email her and the next day I sent a detailed pitch to review a new book by an Established American Poet whose work I'd long admired. I hadn't actually read the new book yet, but I knew enough of his catalog to make the case for the Important Magazine giving him a feature review. She accepted, and I dove into the galley, which it turned out I mostly hated. This was as much a surprise to me as anyone, and mortifying considering how much I'd professed to love the guy, but -- and I think this is to my credit -- I didn't pull any punches. I excoriated the book in detail, basically arguing that he'd gone lazy and soft. When the piece was spiked, the Editor was kind enough to share her reasoning: She didn't question my judgment of the book (though for the record she never said she shared it) and neither did she have anything against so-called "negative reviewing" (that question never even came up), but she simply didn't see the point of using her platform to hand an ass-kicking to a book of poems most of her readers wouldn't have heard of in the first place. It struck her as a waste of her publication's resources and space. This was, more or less, my introduction to the idea that editors and publications have a sense not only of their audience but of themselves: their cultural position and reach, and that they wield whatever "power" they have (or think they have) with deliberation and intent. Put another way: This was the moment I learned that context is a form of content. The universe then saw fit to drive this point even further home for me, so if you'll bear with a brief P.S. I'll share what happened next: I took my kill fee from the Important Magazine, licked my wounds, and in the end gave the piece away to an upstart indie book website. Some time later I got an email -- from the Established American Poet! It was brief, but exceedingly generous considering the circumstances. He had come across my thrashing of him and had written to say -- I'm paraphrasing here -- no hard feelings. To be sure, he did not share my view of his book, but he seemed to respect my work, and perhaps my ability to get so worked up over a book of poems; more than anything else, he seemed pleased that this upstart indie book website had been interested in him in the first place. He may have even thanked me for my time. 4. Matthew Salesses (The Hundred-Year Flood and I’m Not Saying, I’m Just Saying) In 2011, The Hundred-Year Flood went out to a number of editors, all of who rejected it but several of who asked for revisions. Each time some feedback came in, my agent-at-the-time said I should try it. They all wanted contradictory things. When I sent that agent my revision, she sat on it for months, avoiding my emails. Finally she called and scheduled a meeting in New York. When we met, she said I should either write a different book or find a different agent. We parted ways. It was all very shocking. A month or so later, I found out that she had dropped another writer I know at the same time in an equally mysterious manner. 5. Holly LeCraw (The Swimming Pool and The Half Brother) In August, 1992, when I was 26 years old, I sent out my first story submission ever. I had aggressively small expectations: I knew I’d probably receive a form letter, or more likely a photocopied rejection slip, not even a full sheet of paper. I’d recently started reading the slush at a small literary magazine myself, and knew that words of encouragement, never mind signatures, were doled out very sparingly. I also knew that such magazines took weeks or even months to respond. I printed out my story on my dot-matrix printer, tore off the edges and separated the pages, filled out my SASE, wrote and printed my (very short) submission letter, weighed the whole thing, put stamps on the manila envelope, and sent it off to The Atlantic, which back then published fiction every month. Two days later 00 yes, two days -- my SASE came back with a letter, which read, in its entirety: “Dear Ms. LeCraw: You write intelligently, but ‘Sailing’ seems to us loosely organized, short of event, mannered in the telling (present tense), and inconclusive. Try us again?” It was on letterhead, and signed from C. Michael Curtis, the fiction editor. A friend of ours, not a writer, was over for dinner that night and kept saying how sorry he was that I’d gotten a rejection. He couldn’t understand why I was excited about any of it. He was sure I was putting on a brave face, and I couldn’t convince him otherwise. I never did publish that particular story; it was indeed very short of event, mannered, and inconclusive, and I couldn’t save it, nor many other stories that followed. But that first kind rejection convinced me I wasn’t crazy to try. Eventually, I realized I needed a bigger canvas, and started writing novels. To this day I remain vigilant for work that’s mannered and uneventful. And I’m still astonished by the efficiency of The Atlantic, Mike Curtis, and the U.S. Post Office. 6. Jessica Mesman Griffith (Love & Salt) You know what I hate almost as much as being rejected? Crickets. There is something so humiliating about just being ignored, as if your work doesn't even dignify a response. That being said, I'm fresh off a formal rejection from a publisher for a book I pitched. I was, of course, insulted and embarrassed that the publisher didn't want what I pitched, especially since said publisher had asked me to pitch this particular book to them and requested revisions to the original proposal. But I was also relieved, and that unexpected feeling of relief made me realize that I really hadn't wanted to write the book I'd pitched after all. What I wanted to be working on was far riskier, and I'd been avoiding it and sticking to what I thought was safe. In this case, a rejection gave me the time and the guts to pursue the scarier project. 7. Andrew Ervin (Burning Down George Orwell’s House and Extraordinary Renditions) It took me a long time to understand that every editor who has rejected my fiction has done me a favor. That’s especially true of one man I’ve heard described as “Hungary’s greatest living philosopher.” I’ll get to him in a moment. The first story I ever published, in a now-defunct print journal, required 25 fresh drafts. When it finally appeared, it did so next to some prose by one of my heroes, Andy Kaufman. That made the whole maddening process worth it; those 25 rejections proved invaluable. The most formative rejection I’ve received to date, however, came in 1995 from Miklós Vajda, then the editor of The Hungarian Review. It said: “Thank you for sending your story. I am sorry to say, however, I found it crudely written, superficial and much too long for the little it says. It seems your main concern must have been finding expression for the contempt you feel for your colleagues, for modern art, people in general. You have talent but this story does little to prove it.” That is a tremendous rejection. Over a decade later, I read a subsequent -- and published -- version of that same story at my MFA graduation. The opportunity to continue improving a story is one I’ve learned to appreciate. To this day, every story I write needs to pass my internal “crude, superficial and too long” test before I send it out. Image Credit: Wikimedia Commons.
Justin Taylor has been called “a master of the modern snapshot,” and in his new collection of short stories, Flings, he lives up to the label. That’s good news and bad news. Taylor, who previously published the story collection Everything Here Is the Best Thing Ever and the novel The Gospel of Anarchy, made a bold pronouncement on the eve of his new collection’s publication: “I don’t want to always write stories about the same kind of disaffected, angsty, youngish dude.” At this he has succeeded, mightily. Flings has its share of disaffected, angsty, youngish dudes -- those generic characters we’ve come to expect from youngish Brooklyn writers like Taylor -- but to his great credit he has stretched himself in these new stories. In “Carol, Alone,” for example, we follow a grieving widow through her robotic daily routines in a middling south Florida retirement community. It’s told in the first person, which is one of Taylor’s strongest suits, but unfortunately it’s also told in the present tense, which is one of his weakest tics. Yet the story gets at something deep about the nature of grief. Here’s the insomniac widow, Carol, visiting her husband’s grave: When Gerald first died I used to talk to him when I came here, bring him up to speed about our children and friends, the neighborhood – anything I could think of. But whatever this was supposed to make me feel, it didn’t, besides which I hated doing it. If Gerald is anywhere he can hear me, I figure then he probably already knows what little news I have to bring...And if he’s not anywhere, which is, after all, what we both always expected would be the case, then what am I doing recapping TV shows and mah-jongg winnings to a patch of earth? The story includes a pair of vivid, linked snapshots: a 7-foot-long alligator slithers out of the canal and falls asleep in Carol’s back yard; and late one night she interrupts two teenagers making out on the spot where the alligator recently dozed. Like all the stories in this book, “Carol, Alone” ends without any major epiphanies or breakthroughs, just a lonely widow’s quiet resolve to remain connected to life. She does this by spreading food in her back yard, hoping to lure back her alligator, a presence so unexpected it hardly occurred to her to be afraid, a welcome shock. It’s a beautiful ending. Taylor can be funny, too. “Sungold” is one of the strongest stories here, even though it’s about a disaffected, angsty, youngish, callow dude named Brian who manages an organic vegetarian pizza restaurant, a job that requires him to stand in front of the place wearing a gigantic fur mushroom suit to attract customers. The view from inside the sweltering suit “is like peering through the hair catch in a shower drain.” He notices that black teenage boys will cross the street to avoid coming near the giant mushroom, which inspires this riff: Now I’ll grant you, a guy wearing a full-body fur mushroom suit to promote an organic vegetarian pizza pub is arguably the whitest thing to have occurred in the history of whiteness, but it’s not as though it’s going to rub off on them. It’s not like it’s contagious, like breathing the air around me will result in sudden loss of pigmentation, cravings for old Friends episodes, and, I don’t know, a Dave Matthews box set. The owner of the restaurant is Ethan, a trust-fund fuckup, a blackout alcoholic cokehead smokehound who’s also bipolar. “Whenever I see a light on in the restaurant after hours,” Brian reports, “I knock on the kitchen window, find him rolling blunts at the salad station or deep-throating the spigot on the Jagerator.” He adds that “Ethan has the memory of an infant or a goldfish, which is why he’s such a shitty capitalist and such an amazing boss.” And when a sweat-drenched Brian is liberated from the mushroom suit and forced to wear a waitress’s plunging V-neck shirt, he fixes himself a stiff drink, “the logic being that if I’m stuck dressed like a sorority girl at a Phish show then I might as well drink like one.” Taylor must have been channeling Sam Lipsyte when he wrote this story, and, as with Lipsyte, the story leads to a small shred of realization that helps make Brian a more complicated and interesting person. And that’s enough. The variety of characters in these stories is proof that Taylor has lived up to his pre-publication proclamation. We get college kids, teenagers, widows, single parents, grad students, waitresses, and 20-somethings with too much education, or not enough. Most of these characters are unmoored somehow, adrift, seeking something they can’t quite name. They’re also stuck. In the collection’s title story, a group of college friends in Ohio relocate to Oregon for dubious reasons, with dubious results. Their driftiness and lack of grounding in the physical world makes them mere types, not fleshed-out characters. In “Mike’s Song,” a divorced father goes to a Phish concert with his two grown children while furtively texting his new lover, a story so creepy and uneventful that it’ll make you swear off the band forever. “The Happy Valley” is less a story than a diagram, and the prose describing Hong Kong fails to rise above the level of the Fodor’s guide the protagonist carries with her. The story doesn’t live and breathe on the page. Worse yet is “A Night Out,” which reverts to the annoying present tense and, for good measure, is narrated in the tricky second person. This story is everything Taylor claimed he was trying to rise above -- a catalog of the predictable nighttime antics of a bunch of disaffected, angsty, youngish New Yorkers with too much money and too little direction. It reads like Jay McInerney Lite, and it’s a reminder just what a remarkable achievement Bright Lights, Big City was. These stories are loaded with memorable snapshots, and that’s not a bad thing. But for a writer of Taylor’s wit and intelligence, it’s no longer enough. Here’s hoping he uses his many gifts to move beyond the snapshot and create something full-blown and grand, a panorama teeming with all kinds of characters who owe nothing to the world’s legion of disaffected, angsty, youngish dudes. With Flings, he’s moving in that direction. If he keeps pushing, I’m sure he’ll eventually deliver a big vibrant novel. I’m waiting, eagerly.
2014 has already offered a literary bounty for readers, including new books by E.L. Doctorow, Lorrie Moore, Teju Cole, and Lydia Davis. The second-half of 2014 is looking even more plentiful, with new books from superstars like Haruki Murakami, David Mitchell, Ian McEwan, Marilynne Robinson, Denis Johnson, Hilary Mantel, Margaret Atwood and quite a few more. Here at The Millions, we're especially excited that three of our long-time staff writers -- Edan Lepucki, Bill Morris, and Emily St. John Mandel -- will soon have new books on shelves. All three books are winning impressive advance praise. The list that follows isn’t exhaustive – no book preview could be – but, at over 8,000 words strong and encompassing 84 titles, this is the only second-half 2014 book preview you will ever need. Scroll down and get started. July: California by Edan Lepucki: Millions staffer Edan Lepucki’s first full-length novel has been praised by Jennifer Egan, Dan Chaon, and Sherman Alexie, and championed by Stephen Colbert, who’s using it as a case study in sticking it to Amazon. A post-apocalyptic novel set in a California of the not-too-distant future, California follows a young couple struggling to make it work in a shack in the wilderness — dealing with everyday struggles like marriage and privacy as much as dystopian ones likes food and water — until a change in circumstance sends them on a journey to find what’s left of civilization, and what’s left of their past lives. (Janet) Motor City Burning by Bill Morris: Bill Morris made his literary debut 20 years ago with Motor City, a novel set amid the rich history of 1950s Detroit. Since then, he's pursued various other interests, writing a novel set in Bangkok and contributing frequently to The Millions as a staff writer. But as anyone who follows Bill's essays can tell you, his hometown is rarely far from his mind. Now, with the Motor City much in the news, he returns to explore class, race, bloodshed and baseball in the 1960s. (Garth) The Land of Love and Drowning by Tiphanie Yanique: Tiphanie Yanique follows her much lauded story collection, How to Escape From a Leper Colony, with “an epic multigenerational tale set in the U.S. Virgin Islands that traces the ambivalent history of its inhabitants during the course of the 20th century.” That’s according to Publishers Weekly, who gave The Land of Love and Drowning a starred review. Yanique’s debut novel has been receiving raves all over the place; in its starred review, Kirkus called it, “Bubbling with talent and ambition, this novel is a head-spinning Caribbean cocktail.” (Edan) Friendship by Emily Gould: Gould, who put the gawk in Gawker in the middle part of the last decade, turns to fiction with a debut novel that at times reads like a series of blog entries written in the third person. In the novel, two friends, Bev and Amy, are trying to make it as writers in New York when Bev gets pregnant. The question of whether Bev should keep the baby, and what Amy should think about the fact that Bev is even considering it, turns the novel into a meditation on growing up in a world built for the young. (Michael) Last Stories and Other Stories by William T. Vollmann: Vollmann has over 30 years and damn near as many books earned a reputation as a wildly prolific novelist. Still, almost a decade has passed since his last full-length work of fiction, the National Book Award-winning Europe Central. Here, he offers what may have started as a suite of ghost stories… but is now another sprawling atlas of Vollmann's obsessions. Stories of violence, romance, and cultural collision are held together by supernatural elements and by Vollmann's psychedelically sui generis prose. (Garth) High as the Horses' Bridles by Scott Cheshire: To the distinguished roster of fictional evangelicals — Faulkner's Whitfield, Ellison's Bliss — this first novel adds Josiah Laudermilk, a child-prodigy preacher in 1980s Queens. Cheshire makes huge leaps in time and space to bring us the story of Laudermilk's transformation into an adult estranged from his father and his faith. (Garth) The Hundred-Year House by Rebecca Makkai: The second novel from Rebecca Makkai (after 2011’s The Borrower) moves back and forth in the 20th century to tell a story of love, ghosts, and intrigue. The house for which The Hundred-Year House is named is Laurelfield, a rambling estate and former artists’ colony in Chicago’s wealthy North Shore. Owned by the Devohr family for generations, it now finds Zee (née Devohr) and her husband returning to live in the carriage house while she teaches at a local college and he supposedly writes a poet’s biography. What he does instead is ghostwrite teen novels and uncover family secrets. (Janet) Tigerman by Nick Harkaway: Having written about ninjas, spies in their eighties and mechanical bees in his last two novels, Nick Harkaway is in a tough spot if he wants to top himself this time around. All the indications are that he may have done it, though — Tigerman sees a powerful United Nations carry out a cockamie plan to wipe out a former British colony. The protagonist, a former British soldier, takes it upon himself to fight for his patch of the old empire. (Thom) Panic in a Suitcase by Yelena Akhtiorskaya: Yelena Akhtiorskaya is one of New York's best young writers — funny and inventive and stylistically daring, yes, but also clear-eyed and honest. Born in Odessa and raised in Brighton Beach, she's been publishing essays and fiction in smart-set venues for a few years. Now she delivers her first novel, about two decades in the life of a Ukrainian family resettled in Russian-speaking Brooklyn. An excerpt is available at n+1. (Garth) The Great Glass Sea by Josh Weil: "And then one day when the lake ice had broken and geese had come again, two brothers, twins, stole a little boat and rowed together out towards Nizhi." In an alternate Russia, twin brothers Yarik and Dima work together at Oranzheria, the novel’s titular “sea of glass” greenhouse, until their lives veer into conflict. Weil’s exquisite pen and ink illustrations “frame the titles of all 29 chapters and decorate the novel’s endpapers,” making the book, literally, a work of art. If The New Valley, Weil’s lyric first book of linked novellas, is any indication, this new book will be memorable. (Nick R.) August: Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami: Murakami's previous novel, 1Q84, was a sprawling, fantastical work. His latest is just the opposite: a concise, focused story about a 37-year-old man still trying to come terms with a personal trauma that took place seventeen years earlier — when he was unceremoniously cut out of a tight knit group of friends. The novel has less magical strangeness than most Murakami books, and may be his most straightforward tale since Norwegian Wood. (Kevin) We Are Not Ourselves by Matthew Thomas: Thomas spreads his canvas wide in this 640-page doorstop of a novel, which follows three generations of an Irish American family from Queens, but at heart the book is an intimate tale of a family’s struggle to make its peace with a catastrophic illness that strikes one of its members at precisely the wrong moment. Simon & Schuster spent more than a million dollars on this first novel whose author was then teaching high school in New York, thus assuring that the book will either be the fall’s Cinderella story or a poster child for outsized advances given to untested authors. (Michael) Bad Feminist by Roxane Gay: Is it “the year of Roxane Gay?” Time suggested it in a review of Gay’s new novel, An Untamed State; when asked (in a self-interview) how that made her feel, she said, “First, I tinkled on myself. Then my ego exploded and I am still cleaning up the mess.” It’s as good a glimpse as any into the wonder that is Roxane Gay — her Twitterstorms alone are brilliant bits of cultural criticism, and her powerful essays, on her blog, Tumblr, and at various magazines, leave you with the sense that this is a woman who can write dazzlingly on just about any topic. In her first essay collection, we’re promised a wide-ranging list of subjects: Sweet Valley High, Django Unchained, abortion, Girls, Chris Brown, and the meaning of feminism. (Elizabeth) The Kills by Richard House: House's vast tetralogy, at once a border-hopping thriller and a doorstopping experiment, was longlisted for last year's Man Booker Prize in the U.K. Taking as its backdrop the machinery of the global war on terror, it should be of equal interest on these shores. (Garth) Before, During, After by Richard Bausch: Since 1980, Richard Bausch has been pouring out novels and story collections that have brilliantly twinned the personal with the epic. His twelfth novel, Before, During, After, spins a love story between two ordinary people – Natasha, a lonely congressional aide, and Michael Faulk, an Episcopalian priest – whose affair and marriage are undone by epic events, one global, one personal. While Michael nearly dies during the 9/11 terrorist attacks, Natasha’s error on a Caribbean shore leads to a private, unspeakable trauma. As the novel unspools, Before and During prove to be no match for After. (Bill) Your Face In Mine by Jess Row: Possibly inspired by the ageless Black Like Me, Jess Row tells the story of Kelly Thorndike, a native Baltimorean who moves back to his hometown and discovers that an old friend has gotten surgery to change his race. At one time a skinny, white, Jewish man, Martin is now African-American, and he's kept his new identity secret from his friends and family. Martin tells Kelly he wants to come clean, and the two become mired in a fractious, thought-provoking controversy. (Thom) Flings by Justin Taylor: "Our faith makes us crazy in the world"; so reads a line in The Gospel of Anarchy, Taylor’s novel about a Florida commune of anarchist hippies. The original sentence comes from Don DeLillo’s Mao II, an appropriate literary mentor — Taylor is equal parts hilarious and prescient, capable of finding the sublime in the most prosaic, diverse material. On the first page of the collection’s title story alone: labor history, love, and "an inspired treatise on the American government's illegal 1921 deployment of the Air Force to bomb striking mine workers at Blair Mountain, West Virginia." (Nick R.) Augustus by John Williams: There are things that are famous for being famous, such as the Kardashians, and then there are things that are famous for being not famous, such as John Williams’s Stoner. Since its publication in 1965, the “forgotten” work has enjoyed quite a history – metamorphosing from under-appreciated gem into international bestseller and over-praised classic. Indeed, it’s forgivable at this point to forget that Williams’s most appreciated work was actually his final novel, Augustus, which split the National Book Award and earned more praise during its author's lifetime than his other books put together. Interestingly, readers of both Stoner and Butcher's Crossing will here encounter an altogether new version of the John Williams they've come to know: Augustus is an epistolary novel set in classical Rome. It's a rare genius who can reinvent himself in his final work and earn high praise for doing so. (Nick M.) Alfred Ollivant's Bob, Son of Battle by Lydia Davis: In the early 1900s, Bob, Son of Battle became a popular children's tale in England and the United States. Focused on a young boy caught up in a rivalry between two sheepdogs on the moors between Scotland and England, the story eventually found its way into Lydia Davis's childhood bedroom. Alas, the years have not been kind to the thick Cumbrian dialect in which it was written ("hoodoo" = "how do you do" and "gammy" = "illness," e.g.) and the work fell out of popularity as a result. Now, however, Davis has updated the work into clear, modern vernacular in order to bring the story to an entirely new generation of readers, and perhaps the next generation of Lydia Davises (if one could ever possibly exist). (Nick M.) September: Station Eleven by Emily St. John Mandel: Station Eleven is Millions staff writer Emily St. John Mandel's fourth novel, and if pre-publication buzz is any indication, it's her best, most ambitious work yet. Post-apocalyptic tales are all the rage this season, but Mandel's intricate plotting and deftness with drawing character makes this novel of interlinked tales stand out as a beguiling read. Beginning with the onslaught of the deadly Georgian flu and the death of a famous actor onstage, and advancing twenty years into the future to a traveling troupe of Shakespearean actors who perform for the few remaining survivors, the novel sits with darkness while searching for the beauty in art and human connection. (Anne) The Secret Place by Tana French: People have been bragging about snagging this galley all summer, and for good reason: Tana French’s beautifully written, character-driven mysteries about the detectives of the Dublin Murder Squad are always a literary event. Her latest concerns a murder at an all girls’ school, and detective Frank Mackey’s daughter Holly might just be a suspect. My fellow staff writer Janet Potter said The Secret Place is damn good, and if you're smart you will trust Janet Potter. (Edan) The Bone Clocks by David Mitchell: David Mitchell has evidently returned to his genre-, time-, and location-bending best with a novel that weaves the Iraq War with punk rock with immortal beings with the End Times. This is a novel that had Publisher’s Weekly asking, “Is The Bone Clocks the most ambitious novel ever written, or just the most Mitchell-esque?” A tall order, either way. A thrill, either way. (Lydia) Not That Kind of Girl by Lena Dunham: The creator, producer and star of the HBO series Girls — and also, it must be stated, an Oberlin College graduate — has penned a comic essay collection à la David Sedaris or Tina Fey… though something tells me Dunham’s will be more candid and ribald. As Lena herself writes: “No, I am not a sexpert, a psychologist, or a registered dietician. I am not a married mother of three or the owner of a successful hosiery franchise. But I am a girl with a keen interest in self-actualization, sending hopeful dispatches from the front lines of that struggle.” Amen, Lena, amen! (Edan) The Paying Guests by Sarah Waters: After her masterful handling of the haunted house story in The Little Stranger, Waters again taps into the narrative potential of domestic intrusion. This time, it’s lodgers rather than ghosts who are the nuisance. In 1922, a cash-strapped widow and her spinster daughter living by themselves in a large London house let out rooms to a young couple. Annoyances and class tensions soon ignite in these combustible confines, and from the looks of it, the security deposit won’t even begin to cover the damages. The novel promises to be a well-crafted, claustrophobic thriller. (Matt) The Children Act by Ian McEwan: McEwan’s thirteenth novel treads some familiar ground — a tense moral question sits at the heart of the narrative: whether it is right for parents to refuse medical treatment for their children on religious grounds. Discussing the novel at the Oxford Literary Festival this past spring, McEwan said that the practice was “utterly perverse and inhumane.” It’s not the first time McEwan has expressed displeasure with religion: in 2005 he told the Believer he had “no patience whatsoever” for it; three years later, he made international news discussing Islam and Christianity, saying he didn’t “like these medieval visions of the world according to which God is coming to save the faithful and to damn the others.” (Elizabeth) 10:04 by Ben Lerner: Ben Lerner follows the unexpected success of his superb first novel Leaving the Atocha Station with a book about a writer whose first novel is an unexpected success. Which is actually something like what you’d expect if you’d read that superb and unexpectedly successful first novel, with its artful manipulations of the boundaries between fiction and memoir. The suddenly successful narrator of 10:04 also gets diagnosed with a serious heart condition and is asked by a friend to help her conceive a child. Two extracts from the novel, “Specimen Days” and “False Spring,” have run in recent issues of the Paris Review. (Mark) Stone Mattress: Nine Tales by Margaret Atwood: Some fans will remember well the titular story in Atwood’s forthcoming collection, which was published in the New Yorker in December of 2011, and which begins, in Atwood's typical-wonderful droll fashion: “At the outset, Verna had not intended to kill anyone.” With this collection, according to the jacket copy, “Margaret Atwood ventures into the shadowland earlier explored by fabulists and concoctors of dark yarns such as Robert Louis Stevenson, Daphne du Maurier and Arthur Conan Doyle…” If you aren’t planning to read this book, it means you like boring stuff. (Edan) The Assassination of Margaret Thatcher: Stories by Hilary Mantel: Just this month, Mantel was made a dame; the reigning queen of British fiction, she’s won two of the last five Man Booker Prizes. But Mantel’s ascension to superstardom was long in the making: she is at work on her twelfth novel in a career that’s spanned four decades. This fall sees the publication of her second collection of short stories, set several centuries on from the novels that earned her those Bookers. Her British publisher, Nicholas Pearson, said, “Where her last two novels explore how modern England was forged, The Assassination of Margaret Thatcher shows us the country we have become. These stories are Mantel at her observant best.” (Elizabeth) The Dog by Joseph O'Neill: In his first novel since his 2008 PEN/Faulkner-winning Netherland, about a Dutch immigrant in post 9/11 New York, O’Neill tells another fish-out-of-water tale, this time about a New Yorker who takes a job as a “family officer” for a wealthy family in Dubai. Surrounded by corruption and overwhelmed by daily life in the desert metropolis, the narrator becomes obsessed with the disappearance of another American in what Publishers Weekly calls “a beautifully crafted narrative about a man undone by a soulless society.” (Michael) Barbarian Days by William Finnegan: William Finnegan is both a journalist's journalist and one of the New Yorker's most consistently engaging voices. Over the years, he's written about everything from apartheid in South Africa to the broken economy at home (Cold New World now looks prophetic). My favorite of his New Yorker pieces, though, is an insanely long memoir about surfing (Part 1; Part 2) that, legend has it, was crashed into the magazine just before the arrival of Tina Brown as editor. Two decades on, Finnegan returns to this lifelong passion, at book length. Wittgenstein, Jr. by Lars Iyer: With their ingenious blend of philosophical dialogue and vaudevillian verve, Iyer's trilogy, Spurious, Dogma and Exodus, earned a cult following. Wittgenstein, Jr. compacts Iyer's concerns into a single campus novel, set at early 21st-century Cambridge. It should serve as an ideal introduction to his work. (Garth) The Emerald Light in the Air by Donald Antrim: No one makes chaos as appealing a spectacle as Antrim, whether it’s unloosed on the dilapidated red library from The Hundred Brothers, its priceless rugs, heraldic arms and rare books threatened by drunken siblings and a bounding Doberman; the pancake house from The Verificationist; or the moated suburban neighborhood from Elect Mr. Robinson for a Better World. His latest is a collection of stories written over the past fifteen years, each of which was published in the New Yorker. The Emerald Light in the Air demonstrates that Antrim’s controlled anarchy translates beautifully to the shorter form. (Matt) Hold the Dark by William Giraldi: Having built a reputation for critical savagery following the hatchet he sank into a pair of Alix Ohlin books in the Times in 2012, Giraldi puts his own neck on the line with this literary thriller set in a remote Alaskan village where wolves are eating children. Billed as an “Alaskan Oresteia,” the novel follows a pair of men, one an aging nature writer, the other a returning soldier, who come to learn secrets “about the unkillable bonds of family, and the untamed animal in the soul of every human being.” That sound you hear is the whine of blades touching grindstones across literary America. (Michael) Barracuda by Christos Tsiolkas: The title of Christos Tsiolkas’s fifth novel — his first since the international bestseller, The Slap — is a nickname for Daniel Kelly, an Australian swimming prodigy so ruthless in the water that he gets likened to the sharp-toothed, predatory fish. But Daniel’s Olympic ambitions are thwarted by a crime whose nature Tsiolkas hints at but shrewdly withholds. This novel, like all of Tsiolkas’s work, is a vigorous, sometimes vicious argument about what it means to be Australian. As one character concludes, “We are parochial and narrow-minded and we are racist and ungenerous and…” It gets worse, gorgeously worse. (Bill) Prelude to Bruise by Saeed Jones: You’re showing your age and (lack of) internet bona fides if you admit that you’re unfamiliar with Jones’s work. For years now the Buzzfeed LGBT editor has been lighting it up at his day job, and also on Twitter, with a ferocity befitting his name. Now, after earning praise from D.A. Powell and after winning a NYC-based Literary Death Match bout, Jones will use his debut collection to prominently display his poetry chops. (Ed. note: check out an excerpt over here.) (Nick M.) Faithful and Virtuous Night by Louise Glück: The UK publisher (Carcanet) of Louise Glück’s newest collection — her twelfth — describes the poems as “a sequence of journeys and explorations through time and memory.” Macmillan describes it as “a story of adventure, an encounter with the unknown, a knight’s undaunted journey into the kingdom of death; this is a story of the world you’ve always known... every familiar facet has been made to shimmer like the contours of a dream…” In other words, Glück’s newest work is interested in a kind of reiterative, collage-like experience of narrative — “tells a single story but the parts are mutable.” (Sonya) Gangsterland by Tod Goldberg: In Goldberg’s latest novel, infamous Chicago mafia hit man Sal Cupertine must flee to Las Vegas to escape the FBI, where he assumes the identity of… Rabbi David Cohen. The Mafia plus the Torah makes for a darkly funny and suspenseful morality tale. Goldberg, who runs UC Riverside-Palm Desert’s low residency MFA program, is also the author of Living Dead Girl, which was an LA Times Fiction Prize finalist, and the popular Burn Notice series, among others. The man can spin a good yarn. (Edan) Happiness: Ten Years of n+1 by Editors of n+1: Happiness is a collection of the best pieces from n+1’s first decade, selected by the magazine’s editors. Ten years is a pretty long time for any literary journal to continue existing, but when you consider the number of prominent younger American writers who have had a long association with the magazine, it’s actually sort of surprising that it hasn’t been around longer. Chad Harbach, Keith Gessen, Benjamin Kunkel and Elif Batuman all launched their careers through its pages. Pieces by these writers, and several more, are included here. (Mark) Neverhome by Laird Hunt: According to letters and accounts from the time, around 400 women disguised themselves as men to fight in the Civil War. Years ago, Laird Hunt read a collection of one of those women’s letters, and the idea for this novel has been germinating ever since. It tells the story of Constance Thompson, a farm wife who leaves her husband behind, calls herself Ash and fights for the Union. Neverhome is both a story about the harrowing life of a cross-dressing soldier, and an investigation into the mysterious circumstances that led her there. (Janet) My Life as a Foreign Country by Brian Turner: Brian Turner served for seven years in the US Army, spending time in both Bosnia-Herzegovina and Iraq. Since then, he has published two collections of poetry — Here, Bullet and the T.S. Elliot Prize-shortlisted Phantom Noise — both of which draw heavily on his experiences in those wars. His new book is a memoir about his year in Iraq, and about the aftermath of that experience. Turner also makes a leap of conceptual identification, attempting to imagine the conflict through the experience of the Iraqi other. Tim O’Brien, author of The Things They Carried, has praised it as “brilliant and beautiful”, and as ranking “with the best war memoirs I’ve ever encountered”. (Mark) Wallflowers: Stories by Eliza Robertson: Robertson's stories — often told from the perspectives of outsiders, often concerned with the mysteries of love and family, set in places ranging from the Canadian suburbs to Marseilles — have earned her a considerable following in her native Canada. Her debut collection includes "We Walked on Water," winner of the Commonwealth Short Story Prize, and "L'Etranger," shortlisted for the CBC Short Story Prize. (Emily) On Bittersweet Place by Ronna Wineberg: On Bittersweet Place is the second publication from Relegation Books, a small press founded by author Dallas Hudgens. The novel — Wineberg's first, following her acclaimed story collection Second Language — concerns Lena Czernitski, a young Russian Jewish immigrant trying to find her place in the glamour and darkness of 1920s Chicago. (Emily) The Betrayers by David Bezmozgis: Following on the heels of the acclaimed The Free World, Bezmozgis's second novel is about 24 hours in the life of Baruch Kotler, a disgraced Israeli politician who meets the Soviet-era spy who denounced him decades earlier. (Kevin) How to Build a Girl by Caitlin Moran: The feminist journalist and author of How to Be a Woman, once called “the UK’s answer to Tina Fey, Chelsea Handler, and Lena Dunham all rolled into one” by Marie Claire, is publishing her first novel. It follows Johanna Morrigan, who at 14 decides to start life over as Dolly Wilde. Two years later she’s a goth chick and “Lady Sex Adventurer” with a gig writing reviews for a music paper, when she starts to wonder about what she lost when she reinvented herself. (Janet) On Immunity: An Innoculation by Eula Biss: When Biss became a mother, she began looking into the topic of vaccination. What she had assumed would be a few hours of personal research turned into a fascination, and the result is a sweeping work that considers the concept of immunity, the history of vaccination — a practice that sometimes seems to function as a lightning rod for our most paranoid fears about the chemical-laden modern world in which we find ourselves, but that has its roots in centuries-old folk medicine — and the ways in which we're interconnected, with meditations on writers ranging from Voltaire to Bram Stoker. (Emily) October: Yes, Please by Amy Poehler: The Leslie Knopes among us cannot wait for Poehler’s first book of personal stories and advice, in the vein of Tina Fey’s Bossypants and Mindy Kaling’s Is Everyone Hanging Out Without Me? In Poehler’s delightful New Yorker essay about her job at an ice cream parlor, she wrote, “It’s important to know when it’s time to turn in your kazoo.” Wise words from one of America's most beloved comics and actresses. (Anne) The Peripheral by William Gibson: William Gibson fans rejoice, for his first novel in four years is upon us. The novel follows an army veteran with futuristic nerve damage wrought during his time in a futuristic kill squad. (Technically, according to Gibson, it’s a novel taking place in multiple futures, so it’s probably more complicated than that). You can watch him read the first two pages here. If William Gibson were a tense, he’d be future-noir. (Lydia) Lila by Marilynne Robinson: Marilynne Robinson published her brilliant debut novel Housekeeping in 1980 and then basically went dark for a decade and a half, but has been relatively prolific in the last ten years. After re-emerging with 2004’s gorgeous and heartbreaking Gilead, she followed up four years later with Home, a retelling of the prodigal son parable that revisited a story and characters from Gilead. James Wood’s description of the relationship between the two books is exact and lovely: “Home is not a sequel [to Gilead],” he wrote, “but more like that novel’s brother.” With her new novel, Robinson has given those books a sister. The novel tells the story of Lila – the young bride of Gilead’s narrator, Rev. John Ames – who was abandoned as a toddler and raised by a drifter. (Mark) (Ed. Note: You can read an excerpt over here.) Dan by Joanna Ruocco: Joanna Ruocco's kaleidoscopic fictions have been likened to Donald Barthelme's for their dark humor and uncanny occurrences that revel in wordplay. Her stories "map the unmappable wrinkles of the mind," says Laird Hunt, and by bridging disparate ideas creates a synesthesia. In Dan, Ruocco's latest novel, the character Melba Zuzzo finds herself in a rut while living in a male-dominated town in the foothills of a mountain. What ensues is a "slapstick parable" that according to her publisher, Dorothy Project, evokes both the "unabashed campiness of Thomas Pynchon" and the capacious imagination of Raymond Roussel. (Anne) A Brief History of Seven Killings by Marlon James: Marlon James follows his stunning and brutal The Book of Night Women with A Brief History of Seven Killings, which depicts the 1976 assassination attempt on Bob Marley, “spanning decades and continents and peopled with a wide range of characters — assassins, journalists, drug dealers, and even ghosts.” Irvine Welsh calls it “an amazing novel of power, corruption and lies. I can't think of a better one I've read this century." (Edan) Citizen by Claudia Rankine: “Often a division is made between politics and poetry, and I like to think this is a moment when the intersection is recognized,” remarked poet Claudia Rankine, about recently winning the Jackson Poetry Prize. In her lyric hybrid work, Don't Let Me Be Lonely, Rankine investigated media’s role in our private lives, taking on television, pharmaceutical marketing, depression, race, and identity in the post–9/11 era. Citizen, her follow-up book, deals pointedly with race and racial aggression in the media and the everyday — from the classroom to the playing field and the public stage — as it traces the effects of racism in our so-called “post-race” age. (Anne) Some Luck by Jane Smiley: Still best known for her 1991 Pulitzer-winner A Thousand Acres, Smiley returns to Iowa farm country in this ambitious family saga set in the first half of the 20th century. Some Luck is the first installment in a trilogy spanning 100 years in the lives of the Langdon family, starting from its rural Iowa roots in 1920 and following the clan as its five children spread out across America in a time of epochal change. The second volume, Early Warning, is due in spring 2015, with the final volume, which brings the story up to December 31, 2019, set to appear next fall. (Michael) Reunion by Hannah Pittard: In Pittard's second novel — her first was 2011's The Fates Will Find Their Way, lauded here and just about everywhere else — a failed screenwriter on the verge of divorce agrees to join her family for a reunion in Atlanta after her estranged father commits suicide. It's a nuanced and intriguing study of family and love, money and debt, failure and success, starring one of the most likable flawed narrators to come along in some time. (Emily) A Different Bed Every Time by Jac Jemc: Six years ago Chicago-based author Jac Jemc started a blog to track the rejection letters she received. But recently the blog’s been rather quiet — due to a slew of acceptances, it seems. Jemc's first novel, My Only Wife, was published in 2012 and nominated for the PEN/Robert W. Bingham award; it depicts a husband's obsession with recalling memories of his wife who disappeared five years earlier. When Jemc’s follow-up collection, A Different Bed Every Time, hits shelves, expect to encounter stories showcasing Jemc’s playful and poetic sensibility, in a book that Laura van den Berg deems "mythic and essential." (Anne) 300,000,000 by Blake Butler: Blake Butler deploys words like chemicals that merge into phrases, coalescing in alternate existences, with familiar worlds distorted. In Butler’s third novel, There is No Year, a family survives a disease but is still subject to a scourge of infestations and other horrors and mysteries, including a house with secret passageways and the existence of a duplicate “copy family.” Butler began his latest novel, 300,000,000, as a retaliation against the hype surrounding Roberto Bolaño's 2666. The result? A portrait of American violence, told through the minds of a Manson-like cult figure and the policeman responsible for figuring him out, while tracking a trail of violence and descent into psychosis. (Anne) Sister Golden Hair by Darcey Steinke: In Steinke's new novel, a coming-of-age story set in early-70's Virginia, twelve-year-old Jesse's family is on the brink of collapse: her father has recently been defrocked, and her mother is coming undone. When her father was a pastor, Jesse felt that they were a part of something — "We were at the center of what I thought of as THE HOLY, and our every move had weight and meaning" — but they've drifted into a life of vertiginous weightlessness. (Emily) Quick Kills by Lynn Lurie: Lurie’s first novel, Corner of the Dead, featured a photojournalist traumatized by the atrocities committed by the Shining Path guerrillas in Peru during the 1980s. In Quick Kills, the narrator is a young girl who finds herself on the other side of the camera, the exploited subject of a predatory photographer: “There is fear in my eyes. I see the fear clearly even in the blurred snapshot.” This slim work looks to be an unsettling rumination on art, pornography and sexual violence. (Matt) Limonov by Emmanuel Carrère: This biography of Éduard Limonov, published in France in 2011, won the prestigious Prix Théophraste-Renaudot, which is typically awarded to a novel. Limonov’s life makes for good novelistic material: he is founder of the National Bolshevik Party, which “believes in the creation of a grand empire that will include the whole of Europe and Russia, as well as Northern/Central Asia, to be governed under Russian dominance” (Wikipedia), and FSG’s English translation (by John Lambert) will be released under the in-case-you-didn’t-know title Limonov: The Outrageous Adventures of the Radical Soviet Poet Who Became a Bum in New York, a Sensation in France, and a Political Antihero in Russia. Typical of Carrère, he approaches his subject essayistically, wrestling with his own attractions/repulsions vis-à-vis the epic Limonov. (Sonya) The Heart Is Strange by John Berryman: To mark the centenary of John Berryman's birth, FSG is reissuing much of his poetry, including his book The Dream Songs. They're also publishing a new collection, featuring three uncollected pieces along with older examples of his work, that spans the length of his career. From his juvenalia, to the landmark “Homage to Mistress Bradstreet,” to his later poems, The Heart is Strange puts Berryman's talents on display, which means a new generation will start using the phrase “heavy bored.” (For a primer on Dream Songs, check out Stephen Akey's Millions essay.) (Thom) The Book of Strange New Things by Michel Faber: Faber’s latest novel – which David Mitchell called his “second masterpiece” after The Crimson Petal and the White – touches on interstellar space travel, cataclysmic events, romantic love, and religious faith. Such broad territory seems befitting for an author claimed simultaneously by the nations of Scotland, Australia, and the Netherlands. (Nick M.) Hiding in Plain Sight by Nuruddin Farah: Farah is back with another trilogy after his acclaimed Blood in the Sun series. Once again, he explores identity, obligation, family ties, and how politics can interrupt it all. After Bella's brother is killed by Somali extremists, she has to give up her life as a famous fashion photographer and raise his children as if they were her own. Yet when the children's mother returns, Bella must decide what matters more — her family or herself. (Tess) November: The Laughing Monsters by Denis Johnson: In an interview last fall, Johnson described his new novel as "kind of a spy story with what we might call serious intentions, on the order of Graham Greene." Johnson, whose 2007 novel Tree of Smoke won the National Book Award, has written a post-9/11 spy thriller concerning a trio of travelers in west Africa; one is a self-styled soldier of fortune, another is being trailed by two spy agencies and Interpol, and all three are hiding secrets from one another. (Emily) Let Me Be Frank With You by Richard Ford: I was gleeful to learn that Frank Bascombe will return to us after eight years and the threat of oblivion. At a reading in April, Ford reintroduced Bascombe as a 67-year-old Jersey-dweller ruminating on his former home, tipped on its side by Hurricane Sandy. Let Me Be Frank With You will comprise four novellas, each narrated with, undoubtedly, that unmistakable Bascombe verve. (Lydia) Mermaids in Paradise by Lydia Millet: After the high hilarity of her satirical early work, Lydia Millet reached new emotional depths in her last three novels. This new novel, concerning the discovery of mermaids and the ensuing scramble to cash in, looks to achieve a new kind of synthesis. (Garth) Ugly Girls by Lindsay Hunter: Lindsay Hunter’s first story collection Daddy’s is described by its publisher Featherproof Books as a “collection of toxic southern gothics, packaged as a bait box of temptation.” Her second collection Don’t Kiss Me, published by FSG (who says big houses don’t publish story collections?) is, according to the Tin House blog, “a heterogeneous story collection that holds together... peculiar voices that tend to overlap in areas of loss, self-pity, and hilarity.” Hunter is a practitioner of the short-short form and founding host of a flash fiction reading series; no surprise that her debut novel Ugly Girls would be “voice-driven with [a] breakneck pace.” Roxane Gay (on Twitter) called it “gorgeously hopeless.” (Sonya) Twilight of the Eastern Gods by Ismail Kadare: Originally published in 1978 and appearing in English for the first time this year, Twilight of the Eastern Gods is the fictional account of the prolific Albanian novelist’s time at the Gorky Institute of World Literature in Moscow, to which Kadare was recruited in 1958. A kind of factory meant to produce top Socialist writers, the Gorky Institute’s prescribed style and disagreeable faculty instead caused Kadare to rethink his calling. Like his other novels, Twilight promises to be a wormhole into strange times. (Lydia) A Map of Betrayal by Ha Jin: Beneath the quiet poetry of Ha Jin's sentences is a searing novelistic ambition; in A Map of Betrayal, the story of a double-agent in the CIA, he explores a half-century of entanglements between China and the U.S., and the divided loyalties that result. (Garth) All My Puny Sorrows by Miriam Toews: The premise of Toews's sixth novel, released to critical acclaim in Canada earlier this year, is simple and devastating: there are two adult sisters, and one of them wants to die. She's a wildly successful and in-demand concert pianist, but she longs for self-annihilation. It's a premise that could easily be grindingly unbearable, but Toews is a writer of considerable subtlety and grace, with a gift for bringing flashes of lightness, even humor, to the darkest of tales. (Emily) Family Furnishings: Selected Stories, 1995-2014 by Alice Munro: If our guide to Alice Munro wasn't enough, Family Furnishings will feature 25 of her best stories from the past 19 years. It's the first anthology of her work since Selected Stories (1968-1994) and should fill the Munro oeuvre for both lifelong fans and those who found her after her Nobel Prize win last year. Despite her larger-than-life reputation now, these stories remind us what makes Munro one of the best short story writers in the first place — her ability to illuminate quotidian problems and intimacies in small-town Canada. (Tess) Loitering: New and Collected Essays by Charles d'Ambrosio: In 2005 Charles D'Ambrosio published an essay collection, Orphans, with a small press, and the book won a devoted following. The entire print run consisted of 3,500 copies, but all of them, D'Ambrosio writes in his introduction to Loitering, managed to find their way into the hands of readers, "a solace to me like the thought of home." In Loitering, which consists of the eleven original essays from Orphans and a number of new pieces, D'Ambrosio considers subjects ranging from the work of J.D. Salinger to the idea of home. (Emily) Why Religion is Immoral: And Other Interventions by Christopher Hitchens: Since his death from cancer in 2011, Christopher Hitchens has refused to leave the party. His voice — erudite, witty, proudly biased — can be heard again in this new collection of his unpublished speeches, a follow-up to his late-life bestseller, God Is Not Great. The word “interventions” in the new book’s title is critical because Hitchens’s great theme — his opposition to all forms of tyranny, including religious, political and social — led him to support the misinformed and disastrous military invention against the Iraqi tyrant, Saddam Hussein. Hitchens wasn’t always right, but as this new collection ably demonstrates, he was never dull. (Bill) The End of Days by Jenny Erpenbeck: One of the most significant German-language novelists of her generation, Erpenbeck follows up the celebrated novel Visitation with a heady conceit located somewhere between Cloud Atlas and Groundhog Day. The End of Days follows a single character, born early in the 20th Century, to five different deaths: the first as an infant, the second as a teenager, and so on. In each case, her life illuminates the broader history of Europe, which remains ever in the background, dying its own deaths. (Garth) Above the Waterfall by Ron Rash: In Rash’s poem, "Preserves," a family discovers a beautiful springhouse after a funeral, where "woodslats bowed with berry and vegetable." Rash’s work is suffused with this sense: a pastoral world is dying, and his sentences are its best chance at resurrection. Longtime fans of Rash’s elegiac prose are happy this craftsman is finally getting his deserved recognition. His novel, Serena, will reach theaters later this year, and star Jennifer Lawrence and Bradley Cooper. In Above the Waterfall, set in North Carolina, a terrible crime brings together a sheriff and a park ranger. The territory might be familiar, but this poet-novelist always delivers. (Nick R.) The Unspeakable: And Other Subjects of Discussion by Mehgan Daum: Thirteen years after it was published, My Misspent Youth holds up as a perennially interesting book of essays, not to mention the final word on being young and broke in New York. In her new collection, Meghan Daum looks at a host of modern anxieties, including the modern wedding industry, Joni Mitchell and the habits of digital natives. Though a lot of her material is funny in the vein of Nora Ephron, there's gravity here, too — as there is in “Matricide”, which tackles the death of her mother. Our own Matt Seidel recently featured Daum's editor in a piece on editors' first buys. (Thom) December: The Big Green Tent by Ludmila Ulitskaya: Ludmila Ulitskaya only began writing novels after her scientific credentials were revoked for translating a banned novel. The Russian author's commitments to art, activism, and speaking her mind have led her to become one of Russia's most popular living authors. These same concerns guide her fiction, too — called smart, prickly, and with harsh wit — and in this, her latest novel, The Big Green Tent, is no exception. When a poet, a pianist, and a photographer try to transcend oppression in post-Stalinist Russia, their ultimate destinies are far darker than their author's. (Anne) Skylight by José Saramago: This is Saramago's so-called "lost work," which was written in the 1950s, but rediscovered after the Nobel laureate's death in 2010. The novel features the interconnected stories of the residents of an apartment building in Lisbon in the 1940s. (Kevin) January: The First Bad Man by Miranda July: If you’re like me, and think about the various Miranda July short stories like favorite tracks on a beloved album, you might be surprised that The First Bad Man is her debut novel. Her short story collection, No One Belongs Here More Than You, was published six years ago and won the Frank O’Connor International Short Story Award; since then, she has, amongst other varied projects, released an acclaimed feature film and a book project inspired by the people behind various PennySaver ads. The novel, which centers around a woman “with a perpetual lump in her throat,” chronicles what happens when, after taking her boss’s selfish, cruel daughter, her “eccentrically ordered world explodes.” (Elizabeth) Binary Star by Sarah Gerard: Sara Gerard's star is rising. The NYC-based bookseller slash art-mag-employee slash writer drew attention last fall with "Things I Told My Mother," an essayistic inquiry into women’s representation in society, spawned by a topless walk the author took through Times Square. This kind of intensity and boldness guide all of Gerard's work — whether concerning other writers, or her own bout with anorexia, addiction, and a stint jumping freight trains, and now in her first novel Binary Star. Binary Star interweaves astronomical research with a story about an unnamed anorexic who burns through her intensely dysfunctional life like a star burns fuel, never to be replenished. (Anne) Outline by Rachel Cusk: Some travelers collect stories as much as souvenirs. In Cusk's latest novel, a woman writer travels to Greece to teach a creative writing workshop but learns just as much from the tales her fellow travelers tell her. As she listens, she weaves their stories into a narrative of loss, creativity, family life, and intimacy. To keep with the storytelling tradition, the Paris Review serialized the novel, but FSG will publish it for a full narrative experience. (Tess) Glow by Ned Beauman: Beauman’s previous novels, The Boxer Beetle and The Teleportation Accident — the one a fanciful look at eugenics and fascism, the other a genre-bending wonder about an avant-garde set designer in 1930s Berlin — each displayed a learned, diabolical imagination at work. His latest appears just as unhinged. Enrolled in a “continuous amateur neurochemistry seminar” and suffering from a sleep disorder, its hero experiments with the designer drug, “glow,” which opens up a gateway into a Pynchonian universe: a disappeared friend, pirate radio stations, and a nefarious Burmese mining company. (Matt) February: There's Something I Want You to Do by Charles Baxter: In his first story collection in 15 years, Charles Baxter, a son of the Midwest and venerated writer of fiction, poetry and essays, gives us inter-related tales that are tidily bifurcated into two sections, one devoted to virtues (“Chastity,” “Charity,” “Forbearance”), the other to vices (“Lust,” “Sloth,” “Avarice”). Characters re-appear, performing acts both virtuous and loathsome, in stories that are set mostly around Minneapolis but also roam to New York, Tuscany and Ethiopia. The collection’s title is a typical “request moment” that animates the stories, resulting in a murder, a rescue, a love affair, an assault, even a surprising gesture of kindness. (Bill) Bon Appétempt: A Coming of Age Story (With Recipes!) by Amelia Morris: I was such a big fan of Amelia Morris’s hilarious, entertaining, and useful food blog, Bon Appétempt, that I tracked her down and asked her to teach for my writing school, Writing Workshops Los Angeles. Now Amelia has penned a compelling and funny memoir about becoming an adult and an artist — both in and out of the kitchen — that is sure to bring her even more devoted readers. If you like Laurie Colwin and MFK Fischer and, I don’t know, total goofballs baking cakes while making weird faces, you’ll love Amelia Morris and Bon Appétempt. (Edan) Get in Trouble by Kelly Link: “What I want is to create stories that shift around when you reread them.” Few can shake readers awake as well as Link, which makes short fiction her ideal form. She has been called the “George Saunders of the fairy tale,” but simply being Kelly Link is enough. Get in Trouble, her fourth collection, gets its title from the sense that in fiction, “there’s a kind of cathartic, discomforting joy — a pain/pleasure — in people behaving badly.” Her previous fantastical tales have been populated by librarians, cellists, aliens, and fainting goats. Link aims to surprise, which makes her work absolutely pleasing. (Nick R.) Find Me by Laura van den Berg: Laura van den Berg's fictions often unfurl just beyond the real, with their madcap mix of zany and dreamlike set-ups. Case in point, van den Berg's recent story collection, The Isle of Youth, was peopled by yacht thieves, a mother-daughter magician team, and newlyweds who survive a plane crash. Her first novel, Find Me, continues this surreal, at times catastrophic streak, as it follows Joy, a grocery clerk, cough-syrup addict who’s immune to an ongoing plague of memory illness. Joy's resulting hospital stay and cross-country journey plotline sounds like a surreal mash-up of Stephen King's The Stand and Grace Krilanovich's The Orange Eats Creeps. (Anne) March: The Discreet Hero by Mario Vargas Llosa: The 2010 Nobel Prize winner trains his eye on corruption and urbanization in modern day Lima in his latest novel. According to CityLab, "The story follows two parallel tales: an elite Lima businessman who decides to punish his undeserving heirs, and a self-made man in Vargas Llosa’s adopted hometown, Piura, who resists an extortionist demand." (Kevin) More from The Millions: The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
We are a society of consumers. In any of America’s 4,135 Walmart locations, you may find us observing our grotesque sacrament of consumption, enrobed in Duck Dynasty apparel and attended by trains of resource-gobbling offspring whose ominous chants for Monster Energy Drink and Despicable Me talking figurines can be heard halfway to the parking lot. We buy it; we break it, tire of it, or allow it to spoil; and we discard it. We are hell-bent on destroying the planet, and Black Friday is, as it were, our Black Mass. So, at any rate runs a popular line of self-flagellation -- but to what degree is it true? Jonathan Miles’s new novel, Want Not, hopes to make us think long and hard about this question. The book opens on Thanksgiving Day, 2008. Its three narratives, which cohere thematically but don’t much intersect in the contrived manner familiar to moviegoers, follow freegan squatters in Manhattan; the loathsome owner of a collection agency, his troubled wife, and his stepdaughter; and a middle-aged liguististics professor grappling with his failed marriage, his father’s Alzheimer’s disease, and a difficult project drawing on his knowledge of dead and dying languages. The squatter plot recalls Justin Taylor’s The Gospel of Anarchy (2011), a novel about a Florida anarchist collective. There is, if not quite a love triangle, an odd domestic arrangement: Micah and Talmadge take on Matty, Talmadge’s childhood friend and fresh out of prison in Oregon. They lecture him about freeganism in a way that is also for the reader’s instruction, just as one Dan Brown character might explain the Priory of Sion to another. Gradually, these characters do assume real depth; a flashback to Micah’s own off-the-grid childhood and subsequent wanderings (as far as India) furnish the book’s most exotic, poetic passages, as in this description of Indian poverty: It wasn’t the makeshift blue shanties and lean-tos, or the women thrashing clothes on rocks, the men squatting to defecate in the shade of Peepal trees, or the naked, cinnamon-colored children cooling themselves in puddles -- all this was too familiar, even nostalgically comforting, to faze her. What wrenched her, instead, was the unnatural landscape of the poverty: the scale, the density, all the degraded details. The coolant-green, battery-acid-yellow swirls in the puddle those children were cooling in. The mustardy burning-trash haze that strangled the breeze those women were sucking into their lungs as they paused between thrashings. Matty goes through the motions of learning to scavenge, to salvage -- in one very effective nail-biter of a scene, he is nearly flattened in a trash compactor -- but his eye is on the main chance, and what he comes to find in his friends’ lifestyle is not salvation so much as criminal opportunity. Endowing Matty with this mercenary streak was a canny move on Miles’s part. It reveals a mature understanding that not everyone can be brought sincerely into the fold, that people will want what they want no matter how fully they may try to engage with the arguments of the pious. As for Elwin Cross Jr., the linguist, we encounter him just as he’s killed a deer with his Jeep Cherokee. There was, conveniently, a time in Cross’s youth when he pored over “the Foxfire books as if they were Talmudic scrolls,” and under the influence of wine and nostalgia he decides to take the kill home and butcher it. Waste not, want not. Miles describes this process so vividly and in so dignified a manner that, rather than making the reader squeamish, it may have him clicking over to the Cabela’s website. Other things that Elwin refuses to discard include his technically totaled Jeep; Christopher, the drunken, buffoonish son of his abusive neighbor; his father’s memories; the endangered languages of micro-ethnic groups. This may sound a bit too elegant, even pat, but it is mild in comparison with Dave Masoli, Miles’s laziest creation. Masoli is a Frankenstein’s monster of stereotypes. “An hour after eating Thanksgiving dinner,” Miles writes, Dave “was staring into the toilet with wide-eyed awe and admiration.” Yes, we are in for a bathetic rhapsody to a bowel movement -- in Dave’s view, a whole bowel symphony -- and like the scatological tableau in Jonathan Franzen’s Freedom, it doesn’t rise above the level of Tucker Max gross-out merely by being in an upper-middlebrow novel. It takes the book’s kitchen-sink approach to waste too literally and too far. Dave is obnoxious, greedy, unscrupulous, homophobic, racist, a cigar aficionado, and, of course, a Republican. Ostentatiously humanizing a caricature like this, as Miles ultimately does, may be worse than having drawn the caricature in the first place. It suggests that Miles believes he is being imaginative, or insightful, or even shocking in proposing that a person such as Dave might also possess a soul. That most people are walking contradictions should cease to astonish around the time one’s history teacher reveals that Hitler was a vegetarian and Stalin wrote love poetry. Miles’s plot, his superflux of character and incident, is at times as bloated as the America it examines. Want Not seems to crave pride of place with such “sprawling” books as Infinite Jest and Freedom. Miles includes an unsubtle advertisement for his own simile-laden prose style on the first page: One of his characters is “an inveterate analogizer who couldn’t help viewing the world as a matrix of interconnected references in which everything was related to everything else through the associative, magnetizing impulses of his brain. Back in college he’d read that this trait was an indicator of genius.” Want Not isn’t a work of genius, but it is a triumph of careful planning. It is a book designed for book clubs and high school classrooms. Its themes and morals are, like one of those barn-owl-pellet science kits, both easy to unpack and, if considered in the right frame of mind, fascinating. Its reach may exceed its grasp, but it earns that oft-abused adjective ambitious. With the lone exception of Dave Masoli, Miles’s characters are well drawn, convincing, and easy to care about; his prose is intricate but reads at a good clip. But the greatest compliment one can pay Want Not is that it turns out not to be a didactic novel about reducing, reusing, and recycling. It may be just the opposite, a subversive argument that we are focusing our attention on the wrong sort of waste. Elwin’s project is to help prepare a warning for a New Mexico HAZMAT dump, a message that will be intelligible to a civiliation of 10,000 years hence. It is an exercise in deep-time communication, and based on a real-life project at the Yucca Mountain Nuclear Waste Repository. For all that well-educated Americans enjoy trash-talking themselves and their consumption habits, the deep-time warning makes us seem optimistically conscientous. Man, if by some miracle he endures another 10,000 years, may face far more serious threats than the presence of a radioactive junkyard. Yet he insists on making an effort to protect our children’s children’s children, ad infinitum. Good for him. Call it love or humanity or something like it. But let’s not forget our actual children. The book describes one heartbreaking miscarriage, one live birth consigned to and rescued from a dumpster. Miles’s main characters are people who need to be picked up, dusted off, and repaired. Sometimes one suspects that Miles is instructing us not to worry so much about abstractions. “[G]arbage was the only truthful thing civilization produced,” Matty thinks, “because that’s where all the dirty secrets went.” Ask any archaeologist: We are that garbage. We’re all headed for the same scrap heap, as is our species, as far as deep time is concerned. It’s to our great credit that we look to the future, but we shouldn’t let our very fleeting present go to waste, either.
1. “I think it’s going to be cultic,” Philip Roth said recently on the future of the novel. “I think always people will be reading them but it will be a small group of people. Maybe more people than now read Latin poetry, but somewhere in that range.” Of note is the fact that Roth was speaking to Tina Brown, master of ceremonies at The Daily Beast, an online attention-mill that roughly a year after running the quotation in question subsumed old school bearer of the magazine journalism standard Newsweek (inviting visions of joint enterprise, DailyNewsBeast). If the universe online can seem to undercut cherished notions of a solitary speaker delivering polished wisdom and revelation from the mountainside, by democratizing the availability of virtual mountainsides and slaking the requisite for polish - diversion always just a finger’s click away (hey, look at that…) - then it may well fall to the serious novelist to play early Christian to, for lack of a better imperial throne, Gawker’s Rome. Where, after all, are the fictional characters more obsessing than Charlie Sheen and the commentary he provokes? Good novels are the shields we raise in Charlie Sheen’s defiance. To snag an allegory from Adam Levin’s The Instructions (as the early Judeo-Christian/Rome analogy is likewise snagged, 10-year-old protagonist Gurion Maccabee wrestling with his role at the head of such a defiance), reading a novel is akin to entering a defile, “a thin breach through which only one person could pass at a time, a space that an army would have to break ranks in order to trek.” It is the solitary nature of a novel’s undertaking - the enchantment and transport of fiction, a shared secret – that gives it such formative weight for the individual reader. Days, weeks, months spent reading a book can’t be replicated by the blaze of movie-viewing, slippery ephemera, an experience vertiginous for want of words. Fiction can trigger strong feeling, and with a book in your lap, you own it – you read where you want to read, the story proceeds when you will it to proceed. In marginalia, you can record what a given sentence means to you. No such option exists in a movie theater, save for what gobbledygook you manage on your cell. Consciousness of any feeling the story elicits can slip away in the light of the lobby, the smell of popcorn, your companions’ faces, seen again as if for the first time… Chase that insight later (rent the movie, cue it up on your laptop), and what you may end up with are actors and pretense and motions, the drama of it all, minus what it was you brought to that moment originally, your own feelings made strange, superfluous. “Charlie Sheen,” you may find yourself saying, should Charlie Sheen be the star of the movie in question, “Remind me again of who it is I am.” But Charlie the F18 – he doesn’t know either. What you need, truly, is quiet and a book. What you need is a room of your own with a view of the bay. What you need is an apple and a bowler hat, a footstool on which to cross your ankles. Do such prescriptions, undergirded by the assumption that you need to be told what’s worth valuing, sound “cultic”? See how slippery is the off-ramp from the mass-media superhighway. 2. Sometimes, taking ourselves less seriously is a good idea. Rather than binding everything in the filigree of words, pure excitement has its time and place, a place free of time - always among the young, and who doesn’t want to linger in youth’s hop-along self-assurance? To be undifferentiated, one of the smiling among the smiling, eyes sleepy, comfort a given. A book, in contrast, appears a tying down. What happens to you alone, the very aspect that gives a novel its sway, can be felt never to have happened at all, should there be no other face to acknowledge it. So mass media derive their dominance, for no matter the quality of the entertainment, you can turn to your companion exiting the theater and say, "Hey, how about that?" In contrast, a book that you read, one less than well publicized, becomes a kernel carried around for months, or years, before reciprocal consciousness is encountered. The deepening of feeling that goes with carrying that something, a novel’s two covers arguably the very foundation of the private self, may mirror, on its release into the everyday, the fanaticism of the true believer. Have you read the Levin? You must read the Levin. (Mind, this is a hypothetical voice; I’m not telling you that you have to read anything.) Four recent novels, Adam Levin’s The Instructions among them, take the cultic as their departure point: Justin Taylor’s The Gospel of Anarchy, Victor LaValle’s Big Machine and Will Self’s The Book of Dave, being the other three. (Somewhere around the bend awaits Fiona Maazel’s Woke Up Lonely.) While The Gospel of Anarchy and Big Machine portray cult largely as madness - albeit a seductive sort of madness - The Instructions and The Book of Dave render cult as that other thing it can be: the basis of a new religion (madness, be damned). All four invite reading, tongue-in-cheek, of sections of their text as scripture. The Instructions, naturally, is entirely scripture. 3. Taylor, in his debut novel, is a soul well familiar with the online storm, formerly a brave of HTMLGiant. That would be neither here nor there were his novel not so clearly a nod to the force the web holds on the mind. The Gospel of Anarchy opens with a drum solo: David, an ambivalent telephone survey operator in Gainesville and aficionado of online porn (“I imagined the girls in a kind of march, an endless parade celebrating—what? Themselves, I guess, or me.”) in the way that Jake Barnes saw bull and finely coiffed matador, decides to share nude photos he has of his ex with a listserv of fellow pervs. He only takes the courtesy of blackening out her face beforehand (a nod to Tucker Max?: “In so doing I had made her anybody—nobody. She was raw material now. She was YOUR FACE HERE.”). Self-destruction attained, he walks out the door and into the street, destination nowhere: “This was my life,” David reports. Until making some new friends, that is, residents of a commune called “Fishgut.” New friends, and new lovers, Katy and Liz, dynamo and devotee, who take him into their bed and belief system, a work in progress. For the first time in his life, David finds himself in church, there discovering “veneration of presence, the breaking down of the walls that make each of us one and one alone. A thing that is three that is also one. Godhead.” But this apprehension of religious experience (see the novels of Marilynne Robinson) seems a glaze, to race on its way to truer interest: the commune’s own encompassing mythos, “anarcho-mysticism,” the fervor for its founder’s return. “On Hypocrisy,” “A Different Trip Another Time Another Rain” and “The Moral” read the entry headings of the journal left behind by the mystery man. Taylor excels at deploying the word “still,” which is appropriate for a writer so gifted at depicting whimsy and volatility. Or, put another way: freedom, terrible freedom. Soon enough, The Gospel of Anarchy departs from David’s point of view, the narrative never quite touching down with such sure footing. Uneven as the web itself, a bold casserole of sensual encounter and deranged proclamation (“My silence was the secret of the secret, the silence of the mystic rose that was fully blossomed within me…”), the fact that Anything is still Something in Taylor’s work figures as nothing short of miracle. Loudly, even rapturously, Taylor succeeds in making the clamoring passion of his characters real, their raw, mercurial yearning a cry for “a world newly established.” In terms of acts of God, The Gospel of Anarchy is a tornado, tearing up the hill where rock ’n roll and cult meet. As Katy muses about an old Indian folktale evidently doctored by Christian conquerors: There’s something beautiful about it also, sort of running concurrently with the monstrosity. She can’t put her finger on it exactly, but it has to do with ideological miscegenation, how all cultures are just hodgepodges, collages, patch jobs. Try putting it this way: the monstrosity is the beauty. 4. Victor LaValle’s Big Machine, on the other hand, has the feel of earthquake, low, rumbling tremors years in the building. The Millions’ Edan Lepucki endorsed this one not long ago, duly citing its principal charm: voice. As a play on James Wood’s hysterical realism, a category that dates most certainly to Ralph Ellison’s The Invisible Man, Big Machine lets loose a zany, nonsensical plot that never fails to stay grounded in the mind of narrator Ricky Rice. If the plot flabbergasts, LaValle’s attention to character will not, even to those of bit players simply passing through. His novel, like Taylor’s, takes fanaticism as its focus. “To be an American is to be a believer!” a vagrant portentously shouts at the novel’s outset. “But y’all don’t even understand what you believe in.” Spinning off tropes of serial noir and horror (e.g. vagrant as prophet), LaValle pits sweet good against callous evil, semi-recovered heroin addict Ricky (“Almost three years without a kiss. That’s a lot of love to lose.”) dropping his job as janitor in Utica, NY, to make for the great north woods of Vermont. Happy to ditch the grit of janitorial work, Ricky still entertains doubt after receiving mysterious summons: “When he gets you out into the country, well, there’s too many tales about this going badly for a guy like me, and I couldn’t help but ponder the possibilities.” The possibilities lead to a compound miles from anywhere - not so different from a writers’ colony, actually (LaValle makes the likeness overt in his acknowledgments) - where Ricky finds he has been selected to take part in a special directive to cull weird and captivating headlines from the mundane: “The Washburn Library doesn’t care who you were, only who you want to be. Out here we don’t call you cons. Out here you’re Unlikely Scholars.” When the library’s existence is threatened by a former disciple named Solomon Clay, Ricky and an authoritative white-haired stunner named Adele Henry are sent to the fictitious Bay Area peninsula, Garland (like Oakland just across from San Francisco), to try to sort things out. Devils who might be angels, a doomed millionaire and vagrants willing to act as suicide bombers all figure in the ensuing mayhem. The present action notwithstanding, Ricky’s repressed past functions as counter narrative: Ricky was raised in a cult, one whose three matriarchs (“the Washerwomen”) rewrote the Bible to conform to a more familiar context: “Finally you actually listen and ask yourself, Was there really a woman named Josephine in the Bible? Malik and his coat of many colors? Luther parted the Mississippi?” With humor and the deliberation of the self-doubting, Ricky grapples with his abrupt emergence on the world at large. Ungrounded, he is prone to manipulation by the Dean of the Unlikely Scholars, a man running his own sort of cult. If “Taxation Without Representation Is Tyranny” was the rallying cry against the British, then “Love Without Reciprocity Is Madness” could be that against Cult. And what a kind of madness it is. Late in the novel, Ricky wonders what his father saw in the Washerwomen’s doctrine, a passage that Taylor’s novel directly echoes: Their main idea was pretty straightforward: the Church is broken. Which one? Take your pick. All choices were correct. The Church, that abiding institution, had stopped working. A new church had to take its place. Something small and defiant and renewed with concern. Which is about as traditional an idea as Christianity has. 5. The Book of Dave explores civilization on the post-apocalyptic island of Ham, where the engraved ravings of a mentally unbalanced, 20th century taxi driver named Dave have been taken as revelation. As such, all children must split time between their mothers and fathers, who live in gender-segregated communities, Dave’s wife having left him and taken their boy some five hundred-plus years before. The Book of Dave would have made an excellent novella or short story. The satire wears thin after page 100 or so (the word “irony” crops up again and again, the Hamites’ manner of denoting metal - for a while, a good joke) and the dialogue, rendered between English slang and text message (“Eye bin 2 ve playce vair ee berried ve Búk, an ee cum 2 me, an ee giv me anuvvah Búk – yeah, a nú I”), is often virtually indecipherable. Regardless, The Book of Dave headed the pack of this most recent spate of novels chronologically, and its take on the virulence of misogyny is more resonant than nicety allows. 6. Reaching back, what are the seminal 20th century novels about cults? Charlie and The Chocolate Factory (capitalism and its never-ending wonders as cult), and, long live the Chief, Tom Wolfe’s novelized non-fiction The Electric Kool-Aid Acid Test. It’s all there: charismatic leader (Ken Kesey), enforced belief (be groovy), claustrophobic togetherness (are you on the bus or…?). The drama of The Electric Kool-Aid Acid Test is Kesey’s reckoning with just how cult-like the following he has garnered is, a lesson on spectacle and enthrallment that must speak directly to the modern gods of pop culture - and their marketing gurus. One lesson to take away? Wear cool pants. Counter to Wolfe’s classic, the anti-heroes of each of the more recent titles are on the inside. They drink the Kool-Aid (if not in quite as dark a sense as that phrase connotes today). The stubborn skepticism of LaValle’s Ricky Rice is the closest thing to Wolfe’s cock-a-doodle-dooing at a remove, outsider on the inside and the outside at once. Of the Pranksters and the fervor of their belief in Kesey, Wolfe writes, setting the undercurrent of his antic history: “And still the babies cry.”