The first book I remember reading this year was an advance copy of Maggie Nelson’s The Argonauts, handed to me by my friend Amanda. I had a six-month-old baby, and Amanda and I had both, coincidentally, just moved from New York to Portland. I am sure I’d read things in the first six months of my son’s life, but I don’t remember any of them. I think mostly I tweeted and Googled paranoid things late at night. She pressed this book to me and I read it on a car ride out to the Oregon coast, baby napping in his car seat. At first it made me mad, all the theory getting in the way of what I really wanted, THE LIFE OF MAGGIE. She is one of those people for me, writers who I want to cross all boundaries with, writers from whom I ask too much. She makes me want more than, as a reader, I deserve. She already gives us more than we deserve. It isn’t fair. I read about how she put a laminated copy of her Guggenheim fellowship announcement (given to her by her mother) under her son’s high chair to catch everything he tossed, and my heart soared. I got used to the theory, came to love it. I read the book a few times over. Then I read Bluets again. Then I ordered The Art of Cruelty, and was told we already owned a copy. Actually I put it on the stoop before we left New York. It was a galley, I rationalized. But really, that book makes me mad. It’s hard to get into and it isn’t Bluets — this is how unfair I am to Maggie. I always call her Maggie in my mind. Anyway, in my newly regained readerly flush I paid for this book and it’s still on my nightstand. I haven’t been able to get through the first few pages. I am an apostate, I know it. Still, though, I think of this as the year of Maggie Nelson, for the world and, more specifically, for me. She brought me back into loving reading.
I read Sarah Manguso’s Ongoingness soon after, the Graywolf one-two punch of 2015, but it just made me want to reread Manguso’s book The Two Kinds of Decay, which is such a mean thing to say, I know. Anyway I did reread it, in the mornings before settling into writing for a few weeks. Reading someone else’s book during the work day feels like the ultimate indulgence to me. It makes me anxious, but then the words, the voice, the confidence (if it’s the right book) soothe it, too. I’m not sure it serves as anything more than a more virtuous, exciting way to procrastinate. Even still: Grace Paley, Nora Ephron, Manguso, they all put the voice back in my head, helped settle the whirling panic and reform it into something more confident and at ease. I felt like they were the band playing me in.
When a certain ferocity was needed, I listened to Sylvia Plath read her own work on Spotify. Afterward, I started reading parts of her journal. Her mundane anxiety about publishing her work, applying to residencies, and walking to the mailbox looking for checks is what made me put it down. Not today, Sylvia. Not today. Same goes for Adrienne Rich’s Of Woman Born. And Paula Bomer’s Baby & Other Stories. I recommend these in a certain state of mind, when you can handle them. It’s important to know when you can’t. This is a skill I’ve yet to master.
If it was the year of Maggie Nelson, for me, it was also the year of Heidi Julavits. She’s “Heidi J” to me and my writer-reader friends, because we refer to her constantly. Her book The Folded Clock came out in earlyish spring and this book and iced coffee were about all I saw on Instagram, and all I cared to see. At first I thought it was the Leanne Shapton cover, but it goes deeper. It’s a book that seems effortless, which means it was brilliantly engineered. The kind of book that makes you happy to have to wait somewhere, because you have it in your totebag; happy to go to bed early so you can sit up reading it. I saw Heidi J read one night at Powell’s and my friend and I left immediately to get a drink. She was so funny, so charming, so effortlessly beautiful (like her writing!), we sat in the car sighing. “Her kids are older right?” Right. She makes me excited to be a decade older, to be more settled into life, to work my ass off and to know myself. This, and the hidden work of the book, is its power.
On the occasion of Vivian Gornick’s The Odd Woman and the City being published, and a friend texting me photos of random pages of Gornick’s backlist, I said, Fine, and ordered a bunch of her books from Powell’s. I’d read her best book, Fierce Attachments on a road trip a few years ago; I was 30 weeks pregnant and the bookstore owner confessed she was pregnant, too. When she sighed and proclaimed her love for the book as she rung up my purchase, I knew it was brought to me by fate. We became friends and I sent her a box full of baby clothes. I read the rest of Gornick’s books this year like they were the key to something, though none of them touches Fierce Attachments. The End of The Novel of Love felt a lot like a brilliant incisive woman writing on Tumblr, full of the sort of projection and assumption and familiarity that is absent from more traditional criticism. In other words, I loved it. The Situation and the Story was that kind of clarifying reading experience where the clarity might be a delusion but at least you have the confidence, the reassurance, of clarity. Months later I couldn’t tell you what I took from The Situation and The Story aside from that mental cheering and gratitude for a book coming into your life at the exact right time you think you need it (for me, I was finishing a nonfiction book proposal). The Odd Woman And The City itself seemed sharp and funny and a little sad. Did it ever really cohere? Transcend? I’m not sure, but I am grateful to have spent time inside her head.
After that, propelled forward by fate, the final Neapolitan novel from Elena Ferrante was coming out, so I finally GAVE IN and bought the first two books, My Brilliant Friend and The Story of a New Name. My initial reaction was something like, “What is this shit, enough with these dolls!” But then I got sucked into what was one of the most satisfying reading experiences of my life. I finished these books in the course of a few days, stopping only to drive to the bookstore one late afternoon, cursing myself for not buying all of them at once. When I finished all four I was bereft. I was mad at Ferrante. I thought she screwed up the ending. Really, I was mad it was over.
I didn’t read anything for awhile, or nothing memorable. How do you follow Ferrante? After a few weeks of false starts and Googling furiously to try and figure out Ferrante’s secret identity, I found my cure: Barbara Comyns. I knew of her from an Emily Books pick: Who Was Changed and Who Was Dead, brilliantly reissued by The Dorothy Project, and still unread by me. I have learned in my time as a reader that the writers Emily Books publishes will always be the ones people come to be obsessed with, even if it takes, regrettably, a few years. Elena Ferrante! Eve Babitz! Ellen Willis. Eileen Myles. Those are just the people whose names start with E, for fuck’s sake. Renata Adler! Nell Zink! I could go on. Resistance is foolish.
All this to say Barbara Comyns’s Our Spoons Came From Woolworths got me out of my own head and onto the couch for three hours, reading this in one setting after my son went to bed. Her voice is sui generis and I goddamn love her. She reminded me of a thing that Emily Gould — who along with Ruth Curry started Emily Books, and who also not coincidentally wrote the introduction to the edition of the book I was reading — told me once when I was having a crisis of confidence. Okay, a crisis of jealousy. She said something like, with regard to writing, it’s useless to be jealous because, “No one can ever be better than you are at being you.” No one else can be better than Comyns is at being Comyns, that is no one can write like Comyns, so I ordered her book The Vet’s Daughter and inhaled that one, too. I need more.
As the year comes to an end, this is all I want, to read books that aren’t the key to anything except themselves. Mary Gaitskill’s The Mare made me sad and anxious. I am waiting for David Copperfield to come in the mail.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
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This year’s New York Times Notable Books of the Year list is out. At 100 titles, the list is more of a catalog of the noteworthy than a distinction. Sticking with the fiction exclusively, it appears that we touched upon a few of these books and authors as well:
Beatlebone by Kevin Barry (You Can’t Lie in Fiction: An Interview with Kevin Barry, You Must Read Kevin Barry, A Year in Reading: Kevin Barry)
Citizen by Claudia Rankine (Hinge of History: Nine Books for the Post-Ferguson Era)
City on Fire by Garth Risk Hallberg (The Opening Lines of Garth Risk Hallberg’s City on Fire, I’ve Rarely Felt So Free: The Millions Interviews Garth Risk Hallberg, Garth at The Millions)
The Complete Stories by Clarice Lispector (A Horribly Marvelous and Delicate Abyss: The Complete Stories by Clarice Lispector)
Delicious Foods by James Hannaham (A Happy Sort of Pessimism: The Millions Interviews James Hannaham)
Fates and Furies by Lauren Groff (Exclusive First Look: Lauren Groff’s Fates and Furies, The Most Joyous Part: The Millions Interviews Lauren Groff)
The First Bad Man by Miranda July (A Box of Powerful Things: The Millions Interviews Miranda July)
The Fishermen by Chigozie Obioma (The Audacity of Prose, Clickworthy Headlines about The Fishermen by Chigozie Obioma)
The Hollow Land by Jane Gardam (Jane Gardam’s Characters: Organically Grown)
Honeydew by Edith Pearlman (Loneliness, Interrupted: Edith Pearlman’s Honeydew, Overnight Sensation? Edith Pearlman on Fame and the Importance of Short Fiction)
How to Be Both by Ali Smith (Wordsmith: The Beguiling Gifts of Ali Smith)
A Little Life by Hanya Yanagihara (Two Lives: On Hanya Yanagihara and Atticus Lish, ‘I Wouldn’tve Had a Biography at All’: The Millions Interviews Hanya Yanagihara)
Loving Day by Mat Johnson (A Blacker Shade of Pale: On Mat Johnson’s Loving Day)
A Manual for Cleaning Women by Lucia Berlin (The Book Report: Episode 30)
The Mare by Mary Gaitskill (A Heightened State of Emotion: The Millions Interviews Mary Gaitskill)
The Meursault Investigation by Kamel Daoud (The Crime of Life: On Kamel Daoud’s The Meursault Investigation)
Preparation For The Next Life by Atticus Lish (Two Lives: On Hanya Yanagihara and Atticus Lish)
Purity by Jonathan Franzen (Flamed but Not Forgotten: On Jonathan Franzen’s Purity)
The Sellout by Paul Beatty (The Inanity of American Plutocracy: On Paul Beatty’s The Sellout)
The Sellout by Paul Beatty (The Inanity of American Plutocracy: On Paul Beatty’s The Sellout)
The Story of the Lost Child by Elena Ferrante (Elena Ferrante Names the Devil and Slays the Minotaur, Outside the Neighborhood: Reading Italy Through Elena Ferrante)
The Story of My Teeth by Valeria Luiselli (Tricks and Lies: On Valeria Luiselli’s The Story of My Teeth)
The Tsar of Love and Techno by Anthony Marra (The Writer I Was: Six Authors Look Back on Their First Novels)
The Turner House by Angela Flournoy (Dynamite Detroit Debut: On Angela Flournoy’s The Turner House, The Tortoise, Not the Hare: The Millions Interviews Angela Flournoy)
Out this week: Avenue of Mysteries by John Irving; Twain & Stanley Enter Paradise by Oscar Hijuelos; Numero Zero by Umberto Eco; The Improbability of Love by Hannah Rothschild; Wherever There Is Light by Peter Golden; City of Clowns by Daniel Alarcón; and The Mare by Mary Gaitskill (who we interviewed today). For more on these and other new titles, check out our Great Second-Half 2015 Book Preview.
Mary Gaitskill’s singular ability to create characters that are rigid and vulnerable, complex and demanding, has earned her a devoted readership, along with a National Book Award nomination, a Guggenheim fellowship, and a PEN/Faulkner nomination. Her new novel, The Mare, is softer in many ways than her previous books. The characters are easier to root for, but at the same time, Gaitskill delivers the same hard edges; it’s a compelling book, but it’s not easy reading.
The Mare tells the story of an 11-year-old Dominican-American girl named Velvet who lives in Crown Heights, N.Y. She joins a summer program called Fresh Air, where city kids live upstate for a few weeks with a sponsor family. Through Fresh Air, she meets Ginger, a middle-aged woman with no children, and the two form a bond during their summers together, filled with both love and struggle. Perhaps more important for Velvet than her relationship with Ginger, however, is a deep connection she develops with an abused horse named Fiery Girl. The novel follows Velvet through several years of school, vacations, and home life, and because it’s a Gaitskill novel, it’s not just a book about a girl and a horse, but a meditation on abuse, betrayal, self-defeat, self-discovery, and ultimately, love.
I talked to Gaitskill over the phone about The Mare, about listening to the story within, and about her life as a writer.
The Millions: Can you talk about your writing habits? What does your daily schedule look like?
Mary Gaitskill: That really varies. I’m not consistent like some people seem to be. Sometimes I don’t write at all. If I’m not really working on anything, I might go for quite a while without writing. I’ve never kept a record of it, but I could guess the longest time I went without writing anything was probably two months. Then at other times, I’ve written, but it was just magazine articles. It wasn’t heavy lifting. But if I am working on something, I usually do work every day. The pattern is usually, starting sometime in the morning after eating, working for maybe two hours, stopping, doing errands, eating lunch, coming back, working for another two to four hours, going to the gym maybe. Eating dinner. Working for another period of two hours. It’s usually a two to four hour block of time. Sometimes it gets up to six. That’s unusual, but it does happen.
I’ve never worked over six hours, which I’m sorry to admit because you do read about great writers working 10 hours at a stretch. I’ve never done that, but six has happened. If I’m really into the piece, I’ll start before I eat in the morning. I’ll wake up, have coffee, and start writing. If I’m really, really excited, I can write wherever I am. When I’m really interested in something, I’ve written at airport restaurants. That’s if I’m really, really into it. But, I usually have to have a quiet place, and really spend some time sitting, without any distractions, and then I get into a frame of mind where I really focus. That’s more normal.
TM: Do you find that you still read while you’re working? I hear many writers say, “I can’t read any fiction while I’m writing a novel. I only read nonfiction” — but I find that I’m the opposite. I have to be constantly reading.
MG: I don’t stop reading fiction when I’m writing. I make a half-conscious attempt to read things that I think might be inspiring, but it’s not necessarily a direct thing, like I’m looking specifically for influence or anything like that. But I sometimes do that, try to think of something that’s going to be helpful somehow.
TM: Let’s talk about The Mare, or really, about another piece I think might be connected. You published a nonfiction piece in Granta, titled “Lost Cat,” that discussed, among other things, your personal experience fostering two inner-city kids during a summer program. There are some obvious parallels, so I wanted to ask you what relation that essay has to The Mare.
MG: Not very much really. You’re right, that the character Velvet is inspired by the girl in “Lost Cat,” but the circumstances are really different. She’s got a different character, different personality, and her life is different, things that happen are different. So, there’s not really very many parallels in the sense of action.
TM: Both pieces also have an animal or animals as central figures, so in “Lost Cat,” it’s your runaway kitten Gattino and in The Mare, it’s an abused horse named Fiery Girl. In both cases, there’s a relationship between the human woman and the non-human animal that seems primal and nonverbal, or pre-verbal, and you say in “Lost Cat,” “Gattino was attuned to me. I think he could feel me even from far away. I think feeling fear from me further unmoored him.” Then in The Mare, Velvet also mentions repeatedly that “the horses feel her thoughts.”
MG: I wouldn’t stand behind that statement in any argumentative way. I definitely can’t. It’s not something I can prove at all, and I may have felt that way because I was really upset. It could be that people imagine things like that when they’re in a heightened state of emotion or they want to believe it, or they’re thinking so powerfully about the animal that they imagine the animal feels them. I do think it’s possible. I think animals have highly developed senses. That the senses that we know about in them may be beyond what we can understand. So it wouldn’t surprise me if it actually was true. I wouldn’t try to convince anyone of that though, if they didn’t believe it.
TM: Were you worried at all about writing a novel about a horse?
MG: In what way? You mean, could I do it?
TM: I mean…I was very touched by the piece “Lost Cat” because I lost a dog two years ago, and it was devastating, completely devastating. But other people found it really unserious.
MG: Yeah. Oh, people totally make fun of “Lost Cat.” People just utterly laughed at it. I think people who don’t…It’s difficult to understand somebody’s grief, actually, even when it’s about a human being. I remember when my father died, I was so utterly wrapped up in grief, and really stunned by it, and yet maybe a year later, someone told me his mother had died and I realized I wasn’t taking it in. I had no memory anymore of how it had felt. I could remember it, and then deleted it. I couldn’t really remember what that feeling was like, and he told me in an email. I started to answer his email kind of briefly, and then I realized, wait a minute, he just told you his mother died. It’s hard to connect with those feelings even if it’s actually about a person. So if it’s about an animal, and you’re not a person who really has ever had that kind of relationship with a pet, of course it looks utterly ridiculous and sentimental and histrionic and just absurd. So I’m not surprised if people react like that.
TM: The beginning of The Mare moves back and forth between just two points of view, the two main characters, Velvet and Ginger, giving each of them alternating first person chapters. But then starting on page 61, we first get Ginger’s husband Paul’s perspective and then eventually get Velvet’s mother, Silvia, and then one of the horse trainers, and even Velvet’s brother. Why and how did you decide to open up the narrative in that way?
MG: Those choices were mostly intuitive, and I really resisted making Silvia a point-of-view character. She was a character that I did not intend to go into. I originally just meant to keep it Ginger and Velvet, and then Paul seemed like…That was a very natural decision because he was somebody who could describe the situation in a way that Ginger never would. He could create a perspective that I felt was important. But Silvia, at first I thought, I can’t do this. I can’t understand her well enough and I won’t do her justice.
My editor, even, when she saw a first draft, said, “I don’t know about this. I loved all that but I don’t know about this.” And yet, it kept coming to me almost like a physical feeling. At a certain point, I really wanted to hear what she had to say, even though that’s a silly way to put it because I’m inventing her, but she seemed like she had to be there at certain times, so I kept doing it. I’m not sure how successful it is, because she really was the character who I had the most difficulty…Not understanding her on a really basic level but on a more detailed level, on a more intimate level.
I don’t know what it would be like to be her. Velvet was hard too, but she is somebody who was born in this country, so she’s maybe half Dominican, but she’s American. She is very attuned to American culture far more than she would be to Dominican culture. She’s never been to the DR. So I felt more familiar with her, but Silvia was really hard. I hope I did her justice. I couldn’t keep her out of it though, finally.
TM: As you were saying, Silvia is an immigrant. She doesn’t have a lot of money. She’s abusive. She has a traumatic emotional background in terms of Velvet’s father. So you’re writing across race, and then obviously Velvet is so young. I couldn’t think of another character who is a teenager in your work. I could be wrong about that, but I thought she was the first one.
MG: There was a character in my second book of short stories, a teenage girl named Elise. The girl was 16 years old, which is older than Velvet. Then the girl in “Secretary” actually, I never gave her age. I pictured her being about 17. But Velvet is much younger. At the beginning she’s 11, and that was really, really hard because I think kids of that age, and younger even, are incredibly perceptive about what’s going on around them. They don’t even have to be especially intelligent, which Velvet, in my mind, is, but they don’t even have to be. I think even kids with average intelligence are very, very aware of what they’re looking at, but they don’t have the vocabulary to describe it.
I remember when I was young, looking at people and taking in a tremendous amount of information about them, but I would never have been able to say in words even to myself what it was I was looking at. I think adults have that experience too, even very articulate adults, but for children it’s just constant.
So the challenge was to create this girl who would be very, very perceptive about everything she’s seeing, and particularly vigilant because in her own neighborhood it’s a tough environment. Then when she’s upstate, she’s surrounded by people who don’t quite understand what’s going on. So she’s looking much more closely than somebody who lived there would look. But, at the same time, she’s not going to have a sophisticated vocabulary with which to describe any of it. You do have a little leeway with fictional characters. You can make them speak in a more sophisticated way than they really would, but you should be somewhat true to life. So that was a challenge.
And then when writing across race, that was also really a challenge because I don’t know what it would be like to be non-white. I can guess at it. I can feel my way into some of it, but at the end of the day, I don’t really know. So I found that very challenging. When I first had the idea of the book, my first thought was, “I can’t do that.” I didn’t sit down confidently and go, “Oh, wow, that’s great idea,” and then sit down to write it. My first thought was, “No, you can’t do that.”
I’d had the idea in 2007, and I just thought, “No,” and yet it kept coming to me. This has never happened before, actually. Scenes would come into my mind when I wasn’t even thinking about it. I’d be just like in an airport or just walking down the street or waking up in the morning, and I would get these images and scenes. One of the first scenes that came to me like that was the scene of Velvet riding the horse bareback when she’s angry at Beverly for mistreating a different horse. That scene came into my mind back in 2007, I think, when I thought I wasn’t going to write it. It kept happening, and so I thought, “well, I’m going to try this.” I was so strongly compelled that I went against my better judgement in a way and thought, I’ll try.
I also was working on another book, so I didn’t really have any need to start another novel right then. But I sat down, and I wrote maybe 50 pages. I showed it to my editor, and she really liked it. So that’s how it happened. But I never had a feeling of confidence about what I was doing in any of it really. The whole project of writing, trying to write people who are not only of a different ethnicity, but also I don’t know what it would be like to be that color. They’re also very poor. They’re even poor for the people around them. Velvet has less than the other girls in her school. So that’s a very, very heavy and particular experience.
TM: Setting seems incredibly important for the novel. It’s as if Ginger’s house and Velvet’s apartment are different planets altogether. I found the train travel really interesting between the two places. It allows the characters to transition, but there’s also a lot of waiting. There are a lot of missed meetings.
MG: I don’t know if I’ve got anything interesting to say about that. It’s an interesting observation, and I think you’re right that I do spend time covering the distance between the two places. It is like a passage going somewhere else. I didn’t really think about it other than it would literally be the case that they’d be spending time on this train.
It’s a dreamy place because, in a way, I really underplay the influence of phones and devices. The timing, I believe, I set it 2006 to 2009. I don’t remember exactly, but that was before phones completely exploded and people were just staring at their phone non-stop. Velvet actually, believe it or not, as poor as they are, she doesn’t even have a phone until fairly late in the book. So there isn’t anything to do but either talk, or read a magazine, or look out the window. She does listen to music sometimes. So it’s a dreamy state, and it’s a state where there’s a lot of nature. They’re not in the city, and they’re not in the cultured world of upstate either. There’s just trees and water around them.
TM: Did you set it during that time period on purpose so you wouldn’t have to deal with the distraction of characters texting each other, or did it just seem natural for the novel?
MG: It did seem natural, partly because, I hate to admit it, I don’t feel like I understand the world I’m living in very well at this point. Whereas at that point, I still did. I felt very connected to the culture. I’ve never been a person who’s super culturally connected. People sometimes have talked about me as if I’m a cultural analyst, and I am not.
This culture is like a chimera before which I stand agog. I’ve never really felt like I understood it, but during that time period I did feel more tuned in. I think that’s probably an unconscious reason I set it during that time.
TM: There’s so much about riding in this book. Do you ride horses at all?
MG: Well, I never did. When you asked me earlier, “Did I feel worried about writing about a horse,” actually yes. I didn’t see it as about the horse at first, because I was so focused on the girl. I didn’t understand going into it how complicated the horse world is, how many different facets it has, and also riding itself and the relationship between people and horses.
There’s a lot there, and I didn’t know how to ride. I actually was dumb enough to think that I could learn about it by asking people questions. I went into the stable with my notebook and pen was like, “Have you ever had a real connection with a horse? What did it feel like?” I actually asked that question. But I realized, and very quickly, that this wasn’t going to work, that I had to do it myself.
I didn’t want to because I was somewhat afraid of horses. I wasn’t phobic or anything, but I had no draw to them the way some girls do when they’re little. I thought they were nice. I don’t dislike any animal, but when it came to handling them and being on top of them, I was afraid. So it was hard.
I ended up spending three years with them. I didn’t ride for all that time because I was just so honestly uncomfortable doing it, and that made the horses uncomfortable. They’re extraordinarily sensitive, and if they feel you are uncomfortable, especially if they feel you’re actually frightened, they don’t enjoy having you on top of them at all.
If it’s a lesson horse, they’re used to it. But they don’t like it, and it’s a horrible feedback loop that gets started. Even when I was just tacking a horse and getting it ready. If it did any normal horse-like thing like toss its head or paw at the ground, I would flinch, and then the horse would flinch, and I would flinch even more and it would just…It was terrible. Then I fell off of a horse at a certain point. Fortunately, I didn’t get hurt. It didn’t throw me off or anything, but I just fell off. I was bareback so it’s pretty easy to slide off.
I was too afraid to get back on, and I just decided I would groom them and clean out their stalls instead of riding, and I did that for a few months. But the weird thing was I became very comfortable with them because of handling, and they became comfortable with me because I was very predictable. I did a good job. I liked grooming them. I learned where they liked to be scratched and touched, and I was very thorough and they came to feel comfortable with me. So one day realized I’m not afraid of them right now. I decided I had to start riding again so I did, and it was a really interesting experience. I fell in love with one of them actually.
With horses especially, they’re looking at you to be in charge, to be the confident person who is going to guide them through whatever it is you’re going to do and sometimes it’s more of a partnership, but mostly they’re looking at you to be the boss. If you’re not, if you’re frightened, they’re going, what’s happening? Why is she doing this? Why is she afraid? It makes them nervous.
TM: What have you been reading lately?
MG: Right now, I’m reading something called Soul by a Russian writer named Andrey Platonov. I don’t have it with me right now, but it’s really good. I just started it. And before that, I was reading Brian Boyd’s biography of Vladimir Nabokov. And before that, I was really into the book called The Orientalist by Tom Reiss.
TM: What are you working on right now, if anything?
MG: I’m not really working on anything right now, but I’ve got a book that I stopped writing in order to write The Mare that I hope to return to. I’m also working on a book of essays that will be published in a year or so.
If you like to read, we’ve got some news for you. The second-half of 2015 is straight-up, stunningly chock-full of amazing books. If someone told you, “Hey, there are new books coming out by Margaret Atwood, Lauren Groff, Elena Ferrante, John Banville, and Jonathan Franzen this year,” you might say, “Wow, it’s going to be a great year for books.” Well, those five authors all have books coming out in September this year (alongside 22 other books we’re highlighting that month). This year, you’ll also see new books from David Mitchell, Bonnie Jo Campbell, Aleksandar Hemon, Patti Smith, Colum McCann, Paul Murray, and what we think is now safe to call a hugely anticipated debut novel from our own Garth Risk Hallberg.
The list that follows isn’t exhaustive — no book preview could be — but, at 9,100 words strong and encompassing 82 titles, this is the only second-half 2015 book preview you will ever need. Scroll down and get started.
Go Set a Watchman by Harper Lee: Fifty-five years after the publication of Lee’s classic To Kill a Mockingbird, this “newly discovered” sequel picks up 20 years after the events of the first novel when Jean Louise Finch — better known to generations of readers as Scout — returns to Maycomb, Ala., to visit her lawyer father, Atticus. Controversy has dogged this new book as many have questioned whether the famously silent Lee, now pushing 90 and in poor health, truly wanted publication for this long-abandoned early effort to grapple with the characters and subject matter that would evolve into her beloved coming-of-age novel. (Michael)
Between the World and Me by Ta-Nehisi Coates: A journalist who learned the ropes from David Carr, Coates is one of our most incisive thinkers and writers on matters of race. Coates is unflinching when writing of the continued racial injustice in the United States: from growing up in Baltimore and its culture of violence that preceded the Freddie Gray riots, to making the case for reparations while revealing the systematic racism embedded in Chicago real estate, to demanding that South Carolina stop flying the Confederate flag. In Between the World and Me, Coates grapples with how to inhabit a black body and how to reckon with America’s fraught racial history from a more intimate perspective — in the form of a letter to his adolescent son. Given the current state of affairs, this book should be required reading. Originally slated for September, the book was moved up to July. Spiegel & Grau Executive Editor Chris Jackson said, “We started getting massive requests from people [for advance copies.] It spoke to this moment. We started to feel pregnant with this book. We had this book that so many people wanted.” Publishers Weekly’s review dispensed with any coyness, saying, “This is a book that will be hailed as a classic of our time.” (Anne)
A Cure for Suicide by Jesse Ball: Elegant and spooky, dystopian and poetic, Jesse Ball’s follow-up to the well-reviewed Silence Once Begun follows a man known only as “the claimant” as he relearns everything under the guidance of an “examiner,” a woman who defines everything from the objects in their house to how he understands his existence. Then he meets another woman at a party and begins to question everything anew. A puzzle, a love story, and a tale of illness, memory, and manipulation, A Cure for Suicide promises to be a unique novel from a writer already known for his originality. (Kaulie)
The Dying Grass by William T. Vollmann: Volume number five of Vollmann’s Seven Dreams series expands on the author’s epic portrayal of the settlement of North America. In his latest, Vollmann depicts the Nez Perce War, a months-long conflict in 1877 that saw the eponymous Native American tribe defend their mountain territories from encroachment by the U.S. Army. According to Vollmann, who spoke with Tom Bissell about the series for a New Republic piece, the text consists of mostly dialogue. (Thom)
Armada by Ernest Cline: Billy Mitchell, the “greatest arcade-video-game player of all time,” devoted 40 hours a week to the perfection of his craft, but he says he never skipped school or missed work. That was 35 years ago, before video games exploded not only in size and complexity, but also in absorptive allure. Recently, things have changed. It was only a year ago that a California couple was imprisoned for locking their children in a dingy trailer so the two of them could play ‘World of Warcraft” uninterrupted. (By comparison, Mitchell’s devotion seems pedestrian.) This year, programmers are working on “No Man’s Sky,” a “galaxy-sized video game” that’ll allow players to zip around a full-scale universe in the name of interplanetary exploration. It sounds impossibly gigantic. And with escalation surely comes a reckoning: Why are people spending more time with games than without? Across the world, a new class of professional gamers are earning lucrative sponsorships and appearing on slickly produced televised tournaments with tuition-sized purses. But surely more than money is at stake. (Full disclosure: I made more real money selling virtual items in “Diablo III’s” online marketplace than I did from writing in ’12.) As increasingly rich worlds draw us in, what are we hoping to gain? It can’t just be distraction, can it? Are there practical benefits, or are we just hoping there are? This, to me, sounds like the heart of Ernest Cline’s latest novel, Armada, which focuses on a real life alien invasion that can only be stopped by gamers who’ve been obediently (albeit unknowingly) training for this very task. (Nick M.)
The Small Backs of Children by Lidia Yuknavitch: The visionary editor of Chiasmus Press and first to publish books by Kate Zambreno and Lily Hoang is herself a fierce and passionate writer. Yuknavitch is the author of a gutsy memoir, The Chronology of Water, and Dora: A Headcase, a fictional re-spinning of the Freudian narrative. Her new novel, Small Backs of Children, deals with art, violence, and the very real effects of witnessing violence and conflict through the media. According to Porochista Khakpour, the novel achieves “moments of séance with writers like Jean Rhys and Clarice Lispector,” a recommendation destined to make many a reader slaver. (Anne)
Lovers on All Saints’ Day by Juan Gabriel Vásquez: The Colombian writer Juan Gabriel Vásquez has been compared to Gabriel García Márquez and Roberto Bolaño. Winner of the International IMPAC Dublin Award for his novel The Sound of Things Falling, Vásquez is bringing out a collection of seven short stories never before published in English (nimbly translated from the Spanish by Anne McLean). The twinned themes of this collection are love and memory, which Vásquez unspools through stories about love affairs, revenge, troubled histories — whole lives and worlds sketched with a few deft strokes. Nobel laureate Mario Vargas Llosa has called Vásquez “one of the most original new voices of Latin American literature.” (Bill)
Among the Wild Mulattos and Other Tales by Tom Williams: The recent passing of B.B. King makes Williams’s previous book, Don’t Start Me Talkin’ — a comic road novel about a pair of traveling blues musicians — a timely read. His new story collection also skewers superficial discussions of race; admirers of James Alan McPherson will enjoy Williams’s tragicomic sense. The book ranges from the hilarious “The Story of My Novel,” about an aspiring writer’s book deal with Cousin Luther’s Friend Chicken, to the surreal “Movie Star Entrances,” how one man’s quest to remake himself with the help of an identity consulting company turns nefarious. Williams can easily, and forcefully, switch tragic, as in “The Lessons of Effacement.” When the main character is followed, he thinks “When your only offenses in life were drinking out of the juice carton and being born black in these United States, what could warrant such certain persecution?” Williams offers questions that are their own answers, as in the final story, when a biracial anthropologist discovers that a hidden mulatto community is more than simply legend. (Nick R.)
Flood of Fire by Amitav Ghosh: Following Sea of Poppies (shortlisted for the Man Booker Prize) and River of Smoke, Calcutta-born Ghosh brings his Ibis Trilogy to a rousing conclusion with Flood of Fire. It’s 1839, and after China embargoes the lucrative trade of opium grown on British plantations in India, the colonial government sends an expeditionary force from Bengal to Hong Kong to reinstate it. In bringing the first Opium War to crackling life, Ghosh has illuminated the folly of our own failed war on drugs. Historical fiction doesn’t get any timelier than this. (Bill)
Fortune Smiles by Adam Johnson: Johnson is best known for his Pulitzer Prize-winning novel about North Korea, The Orphan Master’s Son, but he’s also the author of a terrific and off-kilter story collection called Emporium, a literary cousin to the sad-comic work of George Saunders, Sam Lipsyte, and Dan Chaon. This new collection of six stories, about everything from a former Stasi prison guard in East Germany to a computer programmer “finding solace in a digital simulacrum of the president of the United States,” echoes his early work while also building upon the ambition of his prize-winning tome. Kirkus gave the collection a starred review, calling it, “Bittersweet, elegant, full of hard-won wisdom.” (Edan)
Wind/Pinball by Haruki Murakami: A reissue of Murakami’s first novels, Hear the Wind Sing and Pinball, 1973, which form the first half of the so-called (four-book) Trilogy of the Rat. Written in 1978 and 1980, these books were never published outside of Japan, evidently at Murakami’s behest. He seems to have relented. (Lydia)
The State We’re In: Maine Stories by Ann Beattie: Fifteen stories — connected by their depictions of a number of shared female characters – make up this new collection by short story master Beattie. In “Major Maybe,” which originally appeared in The New Yorker, two young roommates navigate Chelsea in the ’80s. In “The Repurposed Barn,” readers glimpse an auction of Elvis Presley lamps, and in “Missed Calls,” a writer meets a photographer’s widow. Though most of the stories take place in Beattie’s home state of Maine, the author says they required her to call on the work of memory, as they took place in a “recalled” Maine rather than the Maine “outside her window.” (Thom)
The Marriage of Opposites by Alice Hoffman: Describing Rachel, the protagonist of Alice Hoffman’s 34th novel, as the mother of Camille Pissarro, the Father of Impressionism, feels like exactly the kind of thing I shouldn’t be doing right now. That’s because The Marriage of Opposites isn’t about an artist. It’s about the very real woman who led a full and interesting life of her own, albeit one that was profoundly shaped by decisions she didn’t make. Growing up in 19th-century St. Thomas, among a small community of Jewish refugees who’d fled the Inquisition, Rachel dreams of worlds she’s never known, like Paris. No doubt she yearns for a freedom she’s never known, too, after her father arranges her marriage to one of his business associates. What happens next involves a sudden death, a passionate affair, and an act of defiance signaling that perhaps Rachel is free, and that certainly she’s got her own story to tell. (Nick M.)
The Complete Stories by Clarice Lispector: For readers who worship at the altar of Lispector, the appearance of new work in translation is an event. Her writing has long been celebrated across her homeland, Brazil, and Latin America, but it wasn’t until recently that her name became common currency among English readers thanks to New Directions’s reissue of her novels and Benjamin Moser’s notable biography. To add to the allure of “Brazil’s great mystic writer,” Moser offers, she was “that rare woman who looked like Marlene Dietrich and wrote like Virginia Woolf.” Calling the release of Lispector’s Complete Stories in English an “epiphany” in its promotional copy may sound like hyperbole. It’s not. (Anne)
Let Me Tell You: New Stories, Essays, and Other Writings by Shirley Jackson: Shirley Jackson has been a powerhouse in American fiction ever since her haunting 1948 short story “The Lottery,” which showcased her talent for turning the quotidian into something eerie and unnerving. Although she died 50 years ago, her family is still mining her archives for undiscovered gems, resulting in this new collection of 56 pieces, more than 40 of which have never been published before. From short stories to comic essays to drawings, Jackson’s full range is on display, yet her wit and sharp examination of social norms is present throughout. (Tess)
Three Moments of an Explosion by China Miéville: Miéville, the author of more than a dozen novels, is the sort of writer that deftly leaps across (often artificially-imposed) genre divides. He describes his corner of speculative fiction as “weird fiction,” in the footsteps of H.P. Lovecraft. (Tor.com mocked the desire to endlessly subcategorise genre by also placing his work in “New Weird!” “Fantastika!” “Literary Speculation!” “Hauntological Slipstream!” “Tentacular Metafusion!”) His first short story collection was published a decade ago; his second, with 10 previously-published stories and 18 new ones, is out in the U.S. in August. (Elizabeth)
The Daughters by Adrienne Celt: Celt, who is also a comics artist, writes in her bio that she grew up in Seattle, and has both worked for Google and visited a Russian prison. Her debut novel covers a lot of ground, emotionally and culturally: opera, Polish mythology, and motherhood/daughterhood. Kirkus has given The Daughters a starred review — “haunting” and “psychologically nuanced” — and she was a finalist for the Sherwood Anderson Fiction Award, among others. Celt’s web comics appear weekly here, and she sells t-shirts! One to watch.(Sonya)
Eileen by Ottessa Moshfegh: If anyone’s a Paris Review regular it’s Ottessa Moshfegh, with a coveted Plimpton Prize and four stories to her name (in only three year’s time). Her narrators have a knack for all kind of bad behavior: like the algebra teacher who imbibes 40s from the corner bodega on school nights, who smokes in bed and drunk dials her ex-husband, or the woman who offers to shoot a flock of birds for her apartment-manager boyfriend. Moshfegh’s novels track the lives of characters who are equally and indulgently inappropriate. Moshfegh’s first full-length novel Eileen follows a secretary at a boys prison (whose vices include a shoplifting habit) who becomes lured by friendship into committing a far larger crime. (Anne)
Shipbreaking by Robin Beth Schaer: Schaer worked as a deckhand on the HMS Bounty, which sank during Hurricane Sandy, so I entered Shipbreaking feeling that I would be in credible hands. I often read poetry to find phrases and lines to hold with me beyond the final page, and Schaer, who once wrote that “to leave the shore required surrender,” delivers. “I am / forgiven by water, but savaged by sky” says one narrator. Another: “Even swooning / is a kind of fainting, overwhelmed / by bliss, instead of pain.” Shipbreaking is a book about being saved while recognizing loss. Schaer’s words apply equally to marine and shore moments, as so often life is “a charade that only deepens / the absence it bends to hide.” Schaer’s long poems are especially notable; “Middle Flight” and “Natural History” remake pregnancy and motherhood: “Before now, he floated in dark water…Someday he too will chase his lost lightness / half-remembered toward the sky.” If we trust our poets enough, we allow them cause wounds and then apply the salves: “The world without us / is nameless.” (Nick R.)
Last Mass by Jamie Iredell: “I am a Catholic.” So begins Iredell’s book, part memoir about growing up Catholic in Monterey County, Calif., part historical reconsideration of Blessed Father Fray Juníperro Serra, an 18th-century Spanish Franciscan who will be canonized by Pope Francis later this year. Structured around the Stations of the Cross, Iredell’s unique book reveals the multitudinous complexities of Catholic identity, and how the tensions between those strands are endemic to Catholic culture. Think of Last Mass as William Gass’s On Being Blue recast as On Being Catholic: Iredell’s range is encyclopedic without feeling stretched. Delivered in tight vignettes that capture the Catholic tendency to be simultaneously specific and universal, the book’s heart is twofold. First, how faith is ultimately a concern of the flesh, as seen in the faithful’s reverence for the body of Christ and struggles over experiencing sexuality (Catholics pivot between the obscene and the divine without missing a step). Second, in documenting Catholic devotion to saintly apocrypha, Iredell carries the reader to his most heartfelt note: his devotion and love for his father and family. (Nick R.)
Purity by Jonathan Franzen: Known for his mastery of the modern domestic drama and his disdain for Internet things, Franzen, with his latest enormous novel, broadens his scope from the tree-lined homes of the Midwest and the Mainline to variously grim and paradisiacal domiciles in Oakland, East Germany, and Bolivia; alters his tableaux from the suburban nuclear family to fractured, lonely little twosomes; and progresses from cat murder to human murder. The result is something odd and unexpected — a political novel that is somehow less political than his family novels at their coziest, and shot through with new strains of bitterness. Expect thinkpieces. (Lydia)
Fates and Furies by Lauren Groff: Groff’s highly anticipated third novel follows married couple Lotto and Matthilde for over two decades, starting with an opening scene (published on The Millions), of the young, just-hitched duo getting frisky on the beach. The book was one of the galleys-to-grab at BookExpo America this spring, and it’s already received glowing reviews from Library Journal, Publishers Weekly, and Kirkus. Meg Wolitzer writes of Groff: “Because she’s so vitally talented line for line and passage for passage, and because her ideas about the ways in which two people can live together and live inside each other, or fall away from each other, or betray each other, feel foundationally sound and true, Fates and Furies becomes a book to submit to, and be knocked out by, as I certainly was.” (Edan)
The Heart Goes Last by Margaret Atwood: A hotly anticipated story about “a near-future in which the lawful are locked up and the lawless roam free,” this is Atwood’s first standalone novel since The Blind Assassin, which won the Man Booker in 2000 (The Penelopiad was part of the Canongate Myth Series). Charmaine and Stan are struggling to make ends meet in the midst of social and economic turmoil. They strike a deal to join a “social experiment” that requires them to swap suburban paradise for their freedom. Given Atwood’s reputation for wicked social satire, I doubt it goes well. Publishers Weekly notes, “The novel is set in the same near-future universe as Atwood’s Positron series of four short stories, released exclusively as e-books. The most recent Positron installment, which was published under the same name as the upcoming novel, came out in 2013.” (Claire)
The Blue Guitar by John Banville: Banville’s 16th novel takes its title from a Wallace Stevens poem about artistic imagination and perception: “Things as they are/ Are changed upon the blue guitar.” Banville’s protagonist, Oliver Otway Orme, is a talented but blocked painter, an adulterer, and something of a kleptomaniac who returns to his childhood home to ruminate on his misdeeds and vocation. With such an intriguing, morally suspect central character as his instrument, Banville should be able to play one of his typically beguiling tunes. (Matt)
The Story of the Lost Child by Elena Ferrante: Ferrante writes what James Wood called “case histories, full of flaming rage, lapse, failure, and tenuous psychic success.” In the fourth and final of the reclusive global publishing sensation’s Neapolitan novels, we return to Naples and to the tumultuous friendship of Lila Cerullo and Elena Greco. (Lydia)
Undermajordomo Minor by Patrick DeWitt: DeWitt’s second novel, The Sisters Brothers, was short-listed for the Man Booker and just about every Canadian prize going, and for good reason. It took the grit, melancholy, and wit of the Western genre and bent it just enough toward the absurd. This new work, billed as “a fable without a moral,” is about a young man named Lucien (Lucy) Minor who becomes an undermajordomo at a castle full of mystery, dark secrets, polite theft, and bitter heartbreak. Our own Emily St. John Mandel calls it, “unexpectedly moving story about love, home, and the difficulty of finding one’s place in the world.” (Claire)
Two Years Eight Months and Twenty-Eight Nights by Salman Rushdie: A new Rushdie novel is an event — as is a new Rushdie tweet for that matter, especially after his vigorous defense of PEN’s decision to honor Charlie Hebdo. His latest follows the magically gifted descendants of a philosopher and a jinn, one of those seductive spirits who “emerge periodically to trouble and bless mankind.” These offspring are marshaled into service when a war breaks out between the forces of light and dark that lasts, you got it, two years, eight months, and 28 nights. You can read an excerpt at The New Yorker. (Matt)
Sweet Caress by William Boyd: Boyd is one of those Englishmen who changes hats as effortlessly as most people change socks. A novelist, screenwriter, playwright, and movie director, Boyd has been shortlisted for the Booker Prize (for 1982’s An Ice-Cream War), and he recently wrote the James Bond novel Solo. His new novel, Sweet Caress, is the story of Amory Clay, whose passion for photography takes her from London to Berlin in the decadent 1920s, New York in the turbulent ’30s, and France during World War II, where she becomes one of the first female war photographers. This panoramic novel is illustrated with “found” period photographs. (Bill)
The Visiting Privilege: New and Collected Stories by Joy Williams: The “definitive” collection from an acknowledged mastress of the short story — Rea Award Winner alongside Donald Barthelme, Alice Munro, Robert Coover, Deborah Eisenberg, James Salter, Mary Robison, Amy Hempel, et alia — The Visiting Privilege collects 33 stories from three previous collections, and 13 stories previously unpublished in book form. Joy Williams has been a writer’s writer for decades, yet never goes out of fashion. Her stories are sometimes difficult, bizarre, upsetting even; and always funny, truthful, and affecting. Williams once exhorted student writers to write something “worthy, necessary; a real literature instead of the Botox escapist lit told in the shiny prolix comedic style that has come to define us.” Would-be writers perplexed by what is meant by an original “voice” should read Williams, absolutely. Read her in doses, perhaps, but read her, for godssakes. (Sonya)
Did You Ever Have a Family by Bill Clegg: By day, Clegg is a glamorous New York literary agent known for snagging fat book deals for literary authors like Matthew Thomas and Daniyal Mueenuddin. At night, he peels off the power suit and becomes a literary author himself, first with two memoirs about his descent into — and back out of — crack addiction, and now a debut novel. In Did You Ever Have a Family, tragedy strikes a middle-aged woman on the eve of her daughter’s wedding, setting her off on a journey across the country from Connecticut to the Pacific Northwest, where she hides out in a small beachside hotel. (Michael)
The Lost Landscape by Joyce Carol Oates: Volcanically prolific Oates has produced another memoir, The Lost Landscape: A Writer’s Coming of Age, which focuses on her formative years growing up on a hard-scrabble farm in upstate New York. We learn of young Oates’s close friendship with a red hen, her first encounters with death, and the revelation, on discovering Alice in Wonderland, that life offers endless adventures to those who know how to look for them. Witnessing the birth of this natural storyteller, we also witness her learning harsh lessons about work, sacrifice and loss — what Oates has called “the difficulties, doubts and occasional despair of my experience.” (Bill)
The Double Life of Liliane by Lily Tuck: The only child of a German movie producer living in Italy and an artistic mother living in New York, Liliane also has ancestors as varied as Mary Queen of Scots, Moses Mendelssohn, and a Mexican adventurer. In this sixth, semi-autobiographical novel from Lily Tuck, winner of the National Book Award for The News from Paraguay, the imaginative Liliane uncovers her many ancestors, tracing and combining their histories as she goes. The result is a writerly coming-of-age that spans both World Wars, multiple continents, and all of one very diverse family. (Kaulie)
This is Your Life, Harriet Chance! by Jonathan Evison: A writer with a reputation for having a big heart takes on Harriet Chance who, at 79 years old and after the death of her husband, goes on a Alaskan cruise. Soon she discovers that she’s been living under false pretenses for the past 60 years. In other hands, this story might turn out as schmaltzy as the cruise ship singer, but Evison’s previous novels, The Revised Fundamentals of Caregiving, West of Here, and All About Lulu have established him as a master of the wistfully wise and humanely humorous. As Evison said in a recent interview, fiction is “an exercise in empathy.” (Claire)
Gold, Fame, Citrus, by Claire Vaye Watkins: Set in an increasingly plausible-seeming future in which drought has transformed Southern California into a howling wasteland, this debut novel by the author of the prize-winning story collection Battleborn finds two refugees of the water wars holed up in a starlet’s abandoned mansion in L.A.’s Laurel Canyon. Seeking lusher landscape, the pair head east, risking attack by patrolling authorities, roving desperadoes, and the unrelenting sun. (Michael)
Cries for Help, Various by Padgett Powell: Back when the working title for his new story collection was Cries for Help: Forty-Five Failed Novels, Padgett Powell proclaimed the book “unsalable.” He was wrong. It’s coming out as Cries for Help, Various, and it’s a reminder that with Padgett Powell, anything is possible. In “Joplin and Dickens,” for instance, the titular singer and writer meet as emotionally needy students in an American middle school. Surreal wackiness can’t disguise the fact that these 44 stories are grounded in such very real preoccupations as longing, loneliness, and cultural nostalgia. The authorial voice ranges from high to low, from cranky to tender. It’s the music of a virtuoso. (Bill)
The Marvels by Brian Selznick: You know a book is eagerly awaited when you witness an actual mob scene full of shoving and elbows for advance copies at BookExpo America. (In case there’s any doubt, I did witness this.) Selznick, the Caldecott-winning author and illustrator of dozens of children’s books, is best known for The Invention of Hugo Cabret, published in 2008. His newest work weaves together “two seemingly unrelated stories” told in two seemingly unrelated forms: a largely visual tale that begins with an 18th-century shipwreck, and a largely prose one that begins in London in 1990. (Elizabeth)
Scrapper by Matt Bell: Set in a re-imagined Detroit, Bell’s second novel follows Kelly, a “scrapper,” who searches for valuable materials in the city’s abandoned buildings. One day Kelly finds an orphaned boy, a discovery that forces Kelly to reexamine his own past and buried traumas. Advance reviews describe Scrapper as “harrowing” and “grim,” two adjectives that could also be used to describe Bell’s hypnotic debut, In the House Upon the Dirt Between the Lake and the Woods. (Hannah)
Above the Waterfall by Ron Rash: For his sixth novel, Ron Rash returns to the beautiful but unforgiving Appalachian hills that have nourished most of his fiction and poetry. In Above the Waterfall, a sheriff nearing retirement and a young park ranger seeking to escape her past come together in a small Appalachian town bedeviled by poverty and crystal meth. A vicious crime will plunge the unlikely pair into deep, treacherous waters. Rash, a 2009 PEN/Faulkner Award finalist, is one of our undisputed Appalachian laureates, in company with Robert Morgan, Lee Smith, Fred Chappell, and Mark Powell. He has called this “a book about wonder, about how nature might sustain us.” (Bill)
The Story of My Teeth by Valeria Luiselli: This young Mexican writer and translator was honored last year with a National Book Foundation “Five Under 35” Award for her 2013 debut, Faces in the Crowd. Her essay collection Sidewalks, published the same year, was also a critical favorite. Her second novel, The Story of My Teeth, is a story of stories, narrated by Gustavo “Highway” Sánchez Sánchez, a traveling auctioneer whose prize possession is a set of Marilyn Monroe’s dentures. Set in Mexico City, it was written in collaboration with Jumex Factory Staff — which is a story in and of itself. (Hannah)
Marvel and a Wonder by Joe Meno: The author of Hairstyles of the Damned and The Boy Detective Fails has taken an ambitious turn with Marvel and a Wonder. The book follows a Korean War vet living with his 16-year-old grandson on a farm in southern Indiana. They are given a beautiful quarterhorse, an unexpected gift that transforms their lives, but when the horse is stolen they embark on a quest to find the thieves and put their lives back together. (Janet)
Under the Udala Trees by Chinelo Okparanta: Okparanta was born in Nigeria and raised as a Jehovah’s Witness. She emigrated to the United States at age 10, but her fiction often returns to Nigeria, painting a striking portrait of the contemporary nation. Her first book, the 2013 short story collection Happiness, Like Water, was shortlisted for many prizes and won the 2014 Lambda Literary Award for Lesbian Fiction. Her debut novel, Under the Udala Trees, tells the story of two young girls who fall in love against the backdrop of the Nigerian Civil War. (Elizabeth)
After the Parade by Lori Ostlund: This assured debut tells the story of Aaron, an ESL teacher who decides, at age 40, to leave his lifelong partner, the older man who “saved him” from his Midwestern hometown. But in order to move on, Aaron has to take a closer look at his Midwestern past and find out if there’s anything worth salvaging. Readers may know Ostlund from her award-winning 2010 short story collection, The Bigness of the World. (Hannah)
The Hundred Year Flood by Matthew Salesses: Like the titular flood that churns through the second half of the novel, The Hundred Year Flood is a story of displacement. Salesses, whose non-fiction examines adoption and identity, tells the story of Tee, a Korean-American living in Prague in late 2001. The attacks of 9/11 are not mere subtext in this novel; Tee’s uncle commits suicide by plane, and the entire novel dramatizes how the past binds our present. “Anywhere he went he was the only Asian in Prague,” but Tee soon finds friendship in Pavel, a painter made famous during the 1989 Velvet Revolution, and Katka, his wife. Tee becomes Pavel’s subject, and soon, Katka’s lover. “In the paintings, [Tee] was more real than life. His original self had been replaced:” Salesses novel dramatically documents how longing can turn, painfully, into love. (Nick R.)
Not on Fire, but Burning by Greg Hrbek: An explosion has destroyed San Francisco. Twelve-year-old Dorian and his parents have survived it, but where is his older sister, Skyler? She never existed, according to Dorian’s parents. Post-incident America is a sinister place, where Muslims have been herded onto former Native American reservations and parents deny the existence of a boy’s sister. According to the publisher, Hrbek’s sophomore novel is “unlike anything you’ve read before — not exactly a thriller, not exactly sci-fi, not exactly speculative fiction, but rather a brilliant and absorbing adventure into the dark heart of…America.” Joining the Melville House family for his third book, Hrbek, whose story “Paternity” is in the current issue of Tin House, may be poised to be the next indie breakout. (Sonya)
Dryland by Sara Jaffe: Jaffe has lived many lives it seems, one as a guitarist for punk band Erase Errata, another as a founding editor of New Herring Press (which just reissued a bang-up edition of Lynne Tillman’s Weird Fucks with paintings by Amy Sillman). Proof of Jaffe’s life as a fiction-writer can be found online, too, including gems like “Stormchasers.” This fall marks the publication of Jaffe’s first novel, Dryland, a coming-of-age tale set in the ’90s that depicts a girl whose life is defined by absences, including and especially that of her not-talked about older brother, until she has a chance to find him and herself. (Anne)
Hotel and Vertigo by Joanna Walsh: British critic, journalist, and fiction writer Walsh kickstarted 2014 with the #readwomen hashtag phenomenon, declaring it the year to read only women. It seems that 2015 is the year to publish them, and specifically Walsh, who has two books coming out this fall. Hotel is “part memoir part meditation” that draws from Walsh’s experience as a hotel reviewer — and that explores “modern sites of gathering and alienation.” The inimitable Dorothy Project will publish Vertigo, a book of loosely linked stories that channels George Perec and Christine Brooke-Rose, and which Amina Cain claims, “quietly subvert(s) the hell out of form.” (Anne)
City on Fire by Garth Risk Hallberg: Garth is a contributing editor to the site, where he has written masterful essays over nearly a decade, while teaching and putting out his novella Field Guide to the North American Family. He is a keen and perfect reader of novels, and of critics — he told us about Roberto Bolaño. We trust him to steer us through difficult books. (He is, additionally, a champion punner.) When his debut novel, a 900-pager written over six years, was purchased by Knopf, we felt not only that it couldn’t happen to a nicer guy, but that it couldn’t happen to a more serious, a more bona fide person of letters. City on Fire is the result of his wish to write a novel that took in “9/11, the 1977 blackout, punk rock, the fiscal crisis,” which explains the 900 pages. Read the opening lines, evoking a modern Inferno, here. I think we’re in for something special. (Lydia)
Slade House by David Mitchell: Slade House started out with “The Right Sort,” a short story Mitchell published via 280 tweets last summer as publicity for The Bone Clocks. That story, which was published in full, exclusively here at The Millions, is about a boy and his mother attending a party to which they’d received a mysterious invitation. The story “ambushed” him, said Mitchell, and, before he knew it, it was the seed of a full-fledged novel, seemingly about years of mysterious parties at the same residence that we can assume are connected to each other and to characters we’ve already met. The book is said to occupy the same universe as The Bone Clocks and, by extension, Mitchell’s increasingly interconnected body of work. (Janet)
M Train by Patti Smith: The follow-up to Just Kids, Smith’s much-beloved (and National Book Award-winning) 2010 memoir about her youthful friendship with the artist Robert Mapplethorpe as they made their way in 1960s New York City. In a recent interview, Smith said M Train is “not a book about the past so much. It’s who I am, what I do, what I’m thinking about, what I read and the coffee I drink. The floors I pace. So we’ll see. I hope people like it.” Oh Patti, we know we’re gonna like it. (Hannah)
Behind the Glass Wall by Aleksandar Hemon: Hemon has lived in the U.S. since the war in his native Bosnia made it impossible for him to return from what should have been a temporary visit. So he came to his role as the U.N.’s first writer-in-residence in its 70-year history with a lot of baggage. Given unprecedented access to the organization’s inner working — from the general assembly to the security council — his book portrays a deeply flawed but vitally necessary institution. (Janet)
A Strangeness in My Mind by Orhan Pamuk: Nobel laureate Pamuk’s ninth novel follows Mevlut, an Istanbul street vendor. Beginning in the 1970s, the book covers four decades of urban life, mapping the city’s fortunes and failures alongside Mevlut’s, and painting a nostalgic picture of Pamuk’s beloved home. (Hannah)
Mothers, Tell Your Daughters: Stories by Bonnie Jo Campbell: In Once Upon a River, Campbell introduced us to the wily and wise-beyond-her-years Margo Crane, a modern-day female Huck Finn taking to the river in search of her lost mother. The strong and stubborn protagonists that the Michigan author excels at writing are back in her third short story collection. The working-class women in these stories are grief-addled brides, phlebotomists discovering their sensuality, and vengeful abused wives, all drawn with Campbell’s signature dark humor and empathy. (Tess)
100 Years of the Best American Short Stories edited by Lorrie Moore: For 100 years, the Best American series has collected the strongest short stories, from Ernest Hemingway to Sherman Alexie. As editor, Lorrie Moore, a virtuoso of the genre herself, combed through more than 2,000 stories to select the 41 featured in this anthology. But this is not just a compilation, it’s also an examination of how the genre has evolved. Series editor Heidi Pitlor recounts the literary trends of the 20th century, including the rise of Depression-era Southern fiction to the heyday of the medium in the 1980s. The result is collection featuring everyone from F. Scott Fitzgerald to Lauren Groff. (Tess)
The Secret Chord by Geraldine Brooks: The author of March and Caleb’s Crossing, known for her abilities to bring history to life, has turned her attention to David King of Israel. Taking the famous stories of his shephardic childhood, defeat of Goliath, and troubled rule as king, Brooks fills in the gaps and humanizes the legend in a saga of family, faith, and power. (Janet)
Thirteen Ways of Looking by Colum McCann: With a title borrowed from the iconic Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird,” McCann explores disparate points of view in this collection of short stories. The title story follows a retired judge going about his day, not realizing it’s his last. Other stories peek into the life of a nun, a marine, and a mother and son whose Christmas is marked by an unexpected disappearance. (Hannah)
The Mark and the Void by Paul Murray: Murray’s 2010 novel Skippy Dies earned the Irishman worldwide acclaim as a writer enviably adept at both raucous humor and bittersweet truth. His new novel, perhaps the funniest thing to come out of the Irish economic collapse, follows Claude, a low-level bank employee who, while his employers drive the country steadily towards ruin, falls in with a struggling novelist intent on making Claude’s life worthy of telling. (Janet)
The Tsar of Love and Techno by Anthony Marra: A Constellation of Vital Phenomena, Marra’s first novel about war-torn Chechnya during the Second Chechen War, was not only a New York Times bestseller, it was also a longlist selection for the National Book Award and on a bevy of best-of lists for 2013. His second book is a collection of short stories that, like his novel, span a number of years, and take place in the same part of the world. There’s a 1930s Soviet censor laboring beneath Leningrad, for example, as well as a chorus of women who, according to the jacket copy, “recount their stories and those of their grandmothers, former gulag prisoners who settled their Siberian mining town.” The characters in these stories are interconnected, proving that Marra is as ambitious with the short form as he is with the novel. (Edan)
Death by Water by Kenzaburō Ōe: Six years after Sui Shi came out in his native Japan, the 1994 Nobel Prize laureate’s latest is arriving in an English translation. In the book, which features Oe’s recurring protagonist Kogito Choko, a novelist attempts to fictionalize his father’s death by drowning at sea. Because the memory was traumatic, and because Choko’s family refuses to talk about his father, the writer begins to confuse his facts, eventually growing so frustrated he shelves his novel altogether. His quest is hopeless, or so it appears, until he meets an avant-garde theater troupe, which provides him with the impetus to keep going. (Thom)
Submission by Michel Houellebecq: This much-discussed satirical novel by the provocative French author is, as Adam Shatz wrote for the LRB, a “melancholy tribute to the pleasure of surrender.” In this case, the surrender is that of the French intelligentsia to a gently authoritarian Islamic government. The novel has been renounced as Islamophobic, defended against these charges in language that itself runs the gamut from deeply Islamophobic to, er, Islam-positive, and resulted in all kinds of moral-intellectual acrobatics and some very cute titles (“Colombey-les-deux-Mosquées” or “Slouching towards Mecca”). (Lydia)
Golden Age by Jane Smiley: The third volume in Smiley’s Last Hundred Years trilogy follows the descendants of a hard-striving Iowa farming family through the waning years of the last century to the present day. The first two installments covered the years 1920-52 (in Some Luck) and 1953-86 (in Early Warning), mixing lively characters and sometimes improbable plot twists with gently left-of-center political analysis of the American century. With characters who are serving in Iraq and working in New York finance, expect more of the same as Smiley wraps up her ambitious three-book project. (Michael)
Ghostly: A Collection of Ghost Stories by Audrey Niffenegger: From a contemporary master of spooky stories comes an anthology of the best ghost stories. Niffenegger’s curation shows how the genre has developed from the 19th century to now, with a focus on hauntings. Each story comes with an introduction from her, whether it’s a story by a horror staple like Edgar Allan Poe or the unexpected like Edith Wharton. Also look for a Niffenegger original, “A Secret Life with Cats.” (Tess)
The Hours Count by Jillian Cantor: In Cantor’s previous novel, Margot, Anne Frank’s sister has survived World War II, and is living under an assumed identity in America. Cantor’s new book once again blends fact and fiction, this time delving into the lives of Ethel and Julius Rosenberg, the only Americans executed for spying during the Cold War. The day Ethel was arrested, her two young children were left with a neighbor, and in The Hours Count Cantor fictionalizes this neighbor, and we understand the Rosenbergs and their story through the eyes of this young, naïve woman. Christina Baker Kline calls the novel “Taut, atmospheric and absorbing…” (Edan)
Lafayette in the Somewhat United States by Sarah Vowell: As a teenager, the Marquis de Lafayette was an officer in the Continental Army at the right hand of George Washington. Returning home to his native France after the war, he continued to socialize with his friends Thomas Jefferson, John Adams, and Benjamin Franklin, and never lost his place in America’s affections. The author of Assassination Vacation tells the true story of the young French aristocrat who inserted himself into the American Revolution, his long and eventful life on both sides of the Atlantic, and his triumphant return to America at the end of his life. (Janet)
The Early Stories of Truman Capote: As any teacher can tell you, fiction written by 14-year-olds is not something you’d typically pay money to read. (It’s hard enough to find people you can pay to read the stuff, at that.) But what about fiction written by a 14-year-old who started writing seriously at age 11? And one who’d go on to write some of the most memorable stories of the modern age? That certainly changes things, and that’s the case at hand with The Early Stories of Truman Capote, which is said to contain 17 pieces written during the author’s teenage years. “When [Capote] was 23, he used to joke that he looked like he was 12,” journalist Anuschka Roshani told Die Zeit after she had discovered the forgotten stories in the New York Public Library. “But when he was 12 he wrote like others did aged 40.” (Nick M.)
Upright Beasts by Lincoln Michel: There’s a good chance you’ve encountered Michel’s stories, scattered far and wide across the Internet, and featured in the most reputable and disreputable journals alike. And if not his stories, then perhaps one of his many editorial or side projects, as co-founder of Gigantic, online editor of Electric Literature and, (delightfully) as creator of the Monsters of Literature trading cards. Michel’s stories are often an uncanny combination of sinister and funny, tender and sad. Laura van den Berg calls them “mighty surrealist wonders, mordantly funny and fiercely intelligent,” and many of them will soon be released together in Michel’s first story collection Upright Beasts. (Anne)
The Mare by Mary Gaitskill: In 2012, Gaitskill read for a student audience from the novel-in-progress The Mare, which was then described as “an adult fairy-tale unsuitable for children’s ears.” The clichéd publicity blurb gives one pause — “the story of a Dominican girl, the white woman who introduces her to riding, and the horse who changes everything for her” — but also, for this Gaitskill fan, induces eagerness to see what will surely be Gaitskill’s intimate and layered take on this familiar story trope. The young girl, Velveteen, is a Fresh Air Fund kid from Brooklyn who spends time with a married couple upstate and the horses down the road. Drug addiction, race, and social-class collisions make up at least some of the layers here. (Sonya)
The Givenness of Things: Essays by Marilynne Robinson: Robinson is one of the most beloved contemporary American writers, and she’s also one of our most cogent voices writing about religion and faith today. “Robinson’s genius is for making indistinguishable the highest ends of faith and fiction,” Michelle Orange wrote of Robinson’s last novel, Lila, and this talent is on display across her new essay collection, 14 essays that meditate on the complexities of Christianity in America today. (Elizabeth)
Beatlebone by Kevin Barry: IMPAC-winner Barry — who we’ve interviewed here at The Millions — follows John Lennon on a fictional trip to Ireland. In the story, which takes place in 1978, Lennon sets out to find an island he purchased nine years earlier, in a bid to get the solitude he needs to break out of a creative rut. His odyssey appears to be going according to plan — until, that is, he meets a charming, shape-shifting taxi driver. (Thom)
The Big Green Tent by Ludmila Ulitskaya: The Big Green Tent — at 592 pages and dramatizing a panorama of life in the USSR in the 1950s through the story of three friends — is a Russian novel, at the same time that it is a “Russian novel.” An orphaned poet, a pianist, and a photographer each in his own way fights the post-Joseph Stalin regime; you might guess that the results are less than feel-good. This may be the Big Book of the year, and Library Journal is calling it “A great introduction to readers new to Ulitskaya,” who, along with being the most popular novelist in Russia, is an activist and rising voice of moral authority there. For more on Ulitsakya, read Masha Gessen’s 2014 profile. (Sonya)
Hotels of North America by Rick Moody: For writers both motivated and irked by online reviews, the comment-lurking hero of Moody’s sixth novel should hit close to home. Reginald Edward Morse writes reviews on RateYourLodging.com, yet they aren’t just about the quality of hotel beds and room service — but his life. Through his comments, he discusses his failings, from his motivational speaking career to his marriage to his relationship with his daughter. When Morse disappears, these comments become the trail of breadcrumbs Moody follows to find him in this clever metafictional take on identity construction. (Tess)
Avenue of Mysteries by John Irving: Although Irving feels a little out of vogue these days, his novels have inflected the tenor of modern American literature — open a novel and see a glimpse of T.S. Garp, a flash of Owen Meany, a dollop of Bogus Trumper. His 14th novel is based, confusingly, on an original screenplay for a movie called Escaping Maharashtra, and takes us to Mexico and the Philippines. (Lydia)
Twain & Stanley Enter Paradise by Oscar Hijuelos: When Hijuelos, author of The Mambo Kings Play Songs of Love, passed away in 2013, he left behind Twain & Stanley Enter Paradise, a novel he’d been working on for more than 12 years. In it, the author imagined a fictitious manuscript containing correspondence between Welsh explorer Henry Morton Stanley, the artist Dorothy Tennant, and Mark Twain. In a virtuoso performance, Hijuelos displays his ability to use a high 19th-century writing style while preserving the individual voices that made each of his subjects so unique. (Nick M.)
A Wild Swan: And Other Tales by Michael Cunningham: Pulitzer Prize-winning Cunningham, best known for The Hours, a creative take on Mrs. Dalloway that was itself adapted into a prize-winning movie starring Nicole Kidman and a prosthetic nose, has chosen a new adaptation project: fairy tales. In A Wild Swan, all the familiar fairy tale characters are present, but clearly modernized — Jack of beanstalk fame lives in his mother’s basement, while the Beast stands in line at the convenience store. Their stories receive similar updates and include all the questions and moments our childhood tales politely skimmed over. (Kaulie)
Numero Zero by Umberto Eco: The Italian writer, best known in the U.S. for The Name of the Rose and Foucault’s Pendulum, takes on modern Italy’s bete noire — Benito Mussolini — in Numero Zero. Moving deftly from 1945 to 1992 and back again, the book shows both the death of the dictator and the odyssey of a hack writer in Colonna, who learns of a bizarre conspiracy theory that says Il Duce survived his own murder. Though its plot is very different, the book pairs naturally with Look Who’s Back, the recent German novel about a time-traveling Adolf Hitler. (Thom)
The Past by Tessa Hadley: Hadley’s fifth novel, the well-received Clever Girl, was released just over a year ago, but she’s already back with another delicately crafted novel of generational change in an English family. In The Past, four grown siblings — three sisters and their brother — return to their grandparents’ house for three sticky summer weeks. While there, they face collected childhood memories, the possibility of having to sell the house, and each other. Their families cause considerable chaos as well — the sisters dislike their brother’s wife, while one sister’s boyfriend’s son attempts to seduce her niece. (Kaulie)
Good on Paper by Rachel Cantor: Cantor’s first novel, A Highly Unlikely Scenario, or a Neetsa Pizza Employee’s Guide to Saving the World, garnered a devoted following for its madcap, time-traveling chutzpah. Her second novel, Good on Paper, also published by Melville House, sounds a bit different — but just as enticing. According to the jacket copy, it’s about “a perpetual freelancer who gets an assignment that just might change her life,” and there are echoes of A.S. Byatt’s Possession. (Edan)
Destruction and Sorrow Beneath the Heavens: Reportage by László Krasznahorkai: Nine out of 10 doctors agree: Hungarian fiction is the cure for positivity, and few doses are as potent as the ones written by Krasznahorkai, recent winner of the Man Booker International Prize. “If gloom, menace and entropy are your thing,” Larry Rohter wrote in his profile of the author for The New York Times, “then Laszlo is your man.” And our interview with Krasznahorkai garnered the headline “Anticipate Doom.” Ominous for Chinese officials, then, that Krasznahorkai’s latest effort can be described not as a work of fiction, but instead as a travel memoir, or a series of reports filed while journeying through the Asian country. Because if there’s one guy you want to write about your country, it’s someone Susan Sontag described as the “master of the apocalypse.” (Nick M.)
Mr. Splitfoot by Samantha Hunt: In Hunt’s fictions, imagination anchors the real and sometimes calls mutiny. Her tales earned her a spot in Tin House’s coterie of “Fantastic Women,” and The Believer has called her “a master of beautiful delusions.” Whether the delusion involves believing oneself to be a mermaid or a wife who becomes a deer at night or the eccentric life and ideas of the oft-overlooked inventor Nikola Tesla (who among other things, harbored pigeons in New York City hotel rooms), Hunt delivers them with what an essence akin to magic. Mr. Splitfoot, Hunt’s third novel, promises more in this vein. It’s a gothic ghost story, involving two orphaned sisters, channeling spirits, and an enigmatic journey across New York State. (Anne)
The High Mountains of Portugal by Yann Martel: The fourth novel by Martel is touted as an allegory that asks questions about loss, faith, suffering, and love. Sweeping from the 1600s to the present through three intersecting stories, this novel will no doubt be combed for comparison to his blockbuster — nine million copies and still selling strong — Life of Pi. And Martel will, no doubt, carry the comparisons well: “Once I’m in my little studio…there’s nothing here but my current novel,” he told The Globe and Mail. “I’m neither aware of the success of Life of Pi nor the sometimes very negative reviews Beatrice and Virgil got. That’s all on the outside.” (Claire)
The Queen of the Night by Alexander Chee: We’ve been awaiting Chee’s sophomore novel, and here it finally is! A sweeping historical story — “a night at the opera you’ll wish never-ending,” says Helen Oyeyemi — and the kind I personally love best, with a fictional protagonist moving among real historical figures. Lilliet Berne is a diva of 19th-century Paris opera on the cusp of world fame, but at what cost? Queen of the Night traffics in secrets, betrayal, intrigue, glitz, and grit. And if you can judge a book by its cover, this one’s a real killer. (Sonya)
The Lost Time Accidents by John Wray: In his fourth novel, Lowboy author Wray moves out of the confines of New York City, tracing the history of an Eastern European family not unlike his own. Moving all the way from fin-de-siècle Moravia up to the present day, the book tracks the exploits of the Toula family, who count among their home cities Vienna, Berlin, and finally New York City. As the story progresses, the family struggles to preserve their greatest treasure, an impenetrable theory with the potential to upend science as we know it. For a sense of Wray’s eye, take note that Znojmo, the Moldovan town from which the family hails, is the gherkin capital of Austria-Hungary. (Thom)
Alice & Oliver by Charles Bock: Bock’s first novel, Beautiful Children, was a New York Times bestseller and won the Sue Kaufman prize for First Fiction from the Academy of Arts and Letters. His second novel, Alice & Oliver, which takes place in New York City in the year 1994, is about a young mother named Alice Culvert, who falls ill with leukemia, and her husband Oliver, who is “doing his best to support Alice, keep their childcare situation stabilized, handle insurance companies, hold off worst case scenario nightmares, and just basically not lose his shit.” Joshua Ferris writes, “I was amazed that such a heartbreaking narrative could also affirm, on every page, why we love this frustrating world and why we hold on to it for as long as we can.” Richard Price calls it “a wrenchingly powerful novel.” (Edan)
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