I started my first-ever vegetable garden this year at a small cottage my husband and I are fixing up an hour and a half outside New York City. I had no idea what I was doing and the anxiety of inexperience led me to nearly replace my habitual novel and short-story reading with a compost heap of gardening and how-to books. Here’s what I learned: I am on trend. The marketplace is soggy with pretty guides for beginners by green-thumb gurus and back-to-the-land life stylists. And the books are so pretty! I bought and read a lot of these books as if they contained the secret map to finding the secret garden. But, to be honest, I still can’t say I know much about growing food. And though I made some salads, my garden is not aesthetically pleasing. This is just to say, that a lot of these books are heavy on the glossy photographs and inconsistent on advice. I learned from these books that the way you learn to garden is to try and fail at gardening. I was great at Japanese eggplant, not so great with heirloom tomatoes. I smothered the broccoli by planting the cucumber too close, but I grew lovely peppers. Not a single garden book warned me about the aggressive, almost pernicious, nature of the cucumber. I did find one book more straightforward and informative than the rest. Brett L. Markham’s Mini-Gardening: Self-Sufficiency on a ¼ Acre. It’s the book I will look at again next year. It’s more of a basic agriculture book than a plant-this-vegetable-next-to-that-vegetable book. Besides gardening, most of my 2011 reading was research focused. I had my nose buried in Edgar Allan Poe and Poe-related scholarship for a book I’m working on, all the research is stuff that’s been around, except for Mat Johnson’s excellent novel Pym. Pym takes a depressingly hilarious look at race in America by following an African-American scholar who is fixated on Poe’s only novel, The Narrative of Arthur Gordon Pym, on a wild-Poe chase to Antarctica.
I do want to mention one book that had nothing to do with my laughable attempts at agriculture or my Poe studies, and that’s Edmund De Waal’s memoir The Hare with Amber Eyes. De Waal is a world-famous ceramicist who inherited a collection of 264 Japanese netsuke from his great uncle Iggie. He becomes fixated on uncovering the story behind the delicate wood and ivory carvings and determines to trace their history through his family. His research leads him back several centuries and ends up taking the reader on an introspective, tragic, and ultimately romantic journey through many eras, wars, and the Holocaust. Along the way his family ancestors rub shoulders and make appearances in Proust’s À la recherche du temps perdu, in a painting by Renoir, and in the work of other artist intelligentsia from the Belle Époque. It’s a remarkable secret history discovered through De Waal’s love of objects. I was swept away by this book and that just doesn’t happen as often as I’d like it to these days.
While writing this I also realized that 2011 was the rare year for me where I read more non-fiction than fiction. And by rare, I probably mean that it was a unique event in my life. It was unsettling. My favorite novel I read this year was Jennifer Egan’s A Visit from the Goon Squad. (I know, I know. It came out a while ago, and everyone loves it, and the Pulitzer). I found the book to be breathtaking and also unsettling – particularly Egan’s global warming future forecasting – perhaps this aspect of Goon Squad also encouraged my decision to start growing food. So I guess this year in reading taught me that I need more goon squads and less green thumbs in my life. I’m just no good without a good story.
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The dispute between Himalayan mountaineers and writers Greg Mortenson and Jon Krakauer has been cast as a dispute between fact and fiction. Recently, Mortenson’s wildly popular book from 2006, Three Cups of Tea—which narrates his failed attempt to climb K2, his kidnapping by the Taliban, and his early efforts to build schools for Pakistani children—was debunked by Krakauer in Three Cups of Deceit. As you may know, this 89-page document systematically exposes Mortenson’s story as “an intricately wrought work of fiction presented as fact” and insists that both Mortenson’s “books and his public statements are permeated with falsehoods.” Though his publisher has launched in investigation into the book’s claims, Mortenson has insisted on its veracity.
Despite the antithetical roles they have assumed in this drama, Mortenson and Krakauer have much in common. Like Mortenson, Krakauer has parlayed his mountaineering adventures in exotic locales into a successful writing career. Into Thin Air, his gripping nonfiction account of the 1996 Mount Everest disaster, popularized and epitomized a genre that has in many ways become synonymous with Krakauer: the true-life extreme survival story. Stories in this genre follow a predictable pattern: an individual sets out on an adventure, things go horribly wrong, he or she confronts the possibility death, and lives to tell an incredible story. Disaster pushes man to the edge between life and death, and a lucky few live to tell about it. This plotline rarely changes; the details are grisly, the scenarios harrowing. Yet we can’t get enough of such extreme survival stories.
Take, for instance, Lauren Hillenbrand’s latest nonfiction bestseller Unbroken: A World War II Story of Survival, Resilience, and Redemption, which relates Louis Zamperini’s improbable true adventures, from shipwreck and starvation to shark attacks and torture. Zamperini’s extreme story is filtered through Hillenbrand’s capable narration, but it has much in common with other first-person survival accounts, including Aron Ralston’s 2005 book, Between a Rock and a Hard Place. Ralston’s book chronicles his amputation of his own arm following a bouldering accident in a Utah canyon, and was adapted into a successful Hollywood movie (127 Hours) starring James Franco, who was nominated for an Oscar for the role. In 1974, Piers Paul Read published Alive: The Story of the Andes Survivors, which charted the grim ordeal of a South American rugby team after their plane crashed in the Andes mountains and they resorted to survival cannibalism in order to stay alive.
Why are we so fixated with such tales, gory and clichéd as they may be? The very gruesomeness of the material is an undeniable source of fascination. Yet our national obsession with extreme survival tales stems not only from their content but the fact that they are true. Ours is a digital age of “truthiness” in which so-called reality TV is scripted and the extreme situations that Bear Grylls undergoes on his TV show Man vs. Wild are revealed to have been surprisingly comfortable. As opposed to works of fiction, true-life extreme survival stories are granted a special type of immunity and cultural authority. How do you critique the truth? The difficulty of doing so makes the marketing of nonfiction under the banner of truth even more irresistible for publishers and authors.
But strangely, what makes the true-life extreme survival story so appealing is its fictional quality. Self-amputation, hypoxia at high altitudes, shark attacks, cannibalism: this is the stuff of fantasy. As the New York Times writes of Unbroken, “some of it sounds too much like pulp fiction to be true.” Reviews of Into Thin Air insist that it “reads like a fine novel” and admit that “though it comes from the genre named for what it isn’t (nonfiction), this has the feel of literature.” “Every once in a while,” another notes, “a work of nonfiction comes a long that is as good as anything a novelist could make up.”
While the unbelievable qualities of nonfiction survival stories prompt the comparison to fiction, the book that’s generally considered the first novel written in English used truth as a marketing device to legitimate the new form of the novel. And it also happens to be an extreme survival story. In Daniel Defoe’s Robinson Crusoe, the shipwrecked Crusoe survives alone on an island for 28 years by planting crops, taming wild animals, and enduring battles with cannibals and pirates. In various advertisements and promotional prefaces, Defoe markets his fictional novel as an incredible true-life story. The preface to the first volume reads: “the Editor believes the thing to be a just History of Fact; neither is there any Appearance of Fiction in it.” In prefaces to later volumes, Defoe (speaking in the voice of the fictional Crusoe) again insists that these are “real facts in my history.” Apparently, some eighteenth-century readers believed this claim. According to Theophilus Cibber, a writer contemporary of Defoe’s, the novel was filled with so many “probable incidents” that “it was judged by most people to be a true story.” Defoe capitalized upon this ambiguity, writing two more sequels to the Crusoe story after the phenomenal success of the first edition. A century later in 1822, Charles Lamb, in a letter to Walter Wilson, describes the technique (which the scholar Ian Watt later called “formal realism”) that helped make Defoe’s novel such a hit: “Facts are repeated over and over in varying phrases till you cannot chuse but believe them. It is like reading evidence in a court of Justice.” The effect, Lamb describes, is one of the truth and nothing but the truth.
Defoe probably based his novel on the real-life story of Alexander Selkirk, an eighteenth-century sailor who survived for four years alone on an island before being rescued. Jonathan Franzen recently visited this South Pacific island (now named, appropriately, Alexander Selkirk) to experience his own Crusovian adventure, which involved re-reading Defoe’s novel on the island. According to Franzen, one of the most interesting questions associated with the origins of the English novel is this: “should a strange story be accepted as true because it is strange, or should its strangeness be taken as proof that it is false?” The genre of extreme survival stories, which, by definition, deals in the strange, sensational, and unbelievable, makes this question even more problematic and acute—and subject to exploitation by savvy writers.
Over one hundred years after the publication of Crusoe’s novel and on the other side of the Atlantic, Edgar Allan Poe published his only novel, The Narrative of Arthur Gordon Pym, and marketed it as a true story. Published in 1838, Arthur Pym was hailed as the American Robinson Crusoe, and, not surprisingly, it has much in common with Crusoe, including a bizarre plotline, “atrocious butchery,” and an insistence on authenticity. In one of his essays, Poe himself marveled at Defoe’s literary achievement, which lay in the fact that it did not seem like one at all: “Men do not look upon it in the light of a literary performance. Defoe has none of their thoughts—Robinson all.” What Poe admires here is Defoe’s sleight-of-hand, and he appeared to want to emulate it. Poe’s own work of extreme survival fiction pretended to be Pym’s first-person account of his strange seafaring adventures. For some commentators, Poe’s hybrid work reconciled generic opposites: according to the August 1, 1838 edition of Horace Greeley’s New Yorker newspaper, “it is a work more marvelous than the wildest fiction, yet is presented and supported as sober truth.” But for other readers, Poe was just a liar. Reviewers criticized the book as implausible and fabricated. One review admired the story as a work of fiction, but condemned its being “palmed upon the public as a true thing.” William Burton, the editor of Burton’s Gentleman’s Magazine, huffed that it was “an impudent attempt at humbugging the public” and that Poe “puts forth a series of travels outraging possibility, and coolly requires his insulted readers to believe his account.”
In terms of what is at stake, the Mortenson scandal may have little in common with Daniel Defoe’s or Edgar Allan Poe’s eighteenth- and nineteenth-century manipulations of the public and the press. Mortenson’s book was required reading for the U.S. military and is the basis upon which his entire humanitarian organization was founded. If Krakauer’s claims are validated, then Mortenson could be said to have done more than insult and humbug his readers. But then again, the market for extreme survival stories, from the eighteenth century to today, has always been driven by—and eager to exploit—the same wish: the impossible desire for truth that possesses the flair of fiction and fiction legitimated by the veracity of truth.
Image credit: Pexels/Francesco Ungaro.
If 2010 was a literary year of big names — featuring Franzen, Mitchell, Delillo and McEwan to name just a few — 2011 is lining up to be more subtle. Amid a very full lineup of intriguing forthcoming books, just one stands above the rest in terms of hype and anticipation, a literary peak that’s likely to be bittersweet in the form of the posthumous release of David Foster Wallace’s final novel. Readers will be hoping it does justice to his legacy.
In the shadow this big book are many others likely to be deserving of readers’ time. While 2010 was given over to the headliners, 2011 may be a year of new discoveries. Here are some of the books we’re looking forward to — 8,000 words strong and encompassing 76 titles, this is the only 2011 book preview you will ever need.
January or Already Out:
Gryphon by Charles Baxter: A collection of short fiction from an acknowledged master of the form. Seven of the twenty-three stories in the collection are new; others, including the title story, are considered classics. In each of these pieces, Publisher’s Weekly writes in a starred review, “the acutely observed real world is rocked by the exotic or surreal.” Baxter’s previous works include four novels (including a National Book Award nominee, The Feast of Love) and four prior short story collections. (Emily M.)
The Empty Family by Colm Tóibín: Tóibín follows up his wildly successful 2009 novel Brooklyn with a new collection of nine short stories concerned with love and loss, memory and homecoming. The Telegraph has called this collection “exquisite and almost excruciating.” (Emily M.)
While Mortals Sleep by Kurt Vonnegut: In the four years since his death, the Vonnegut vaults have been raided, yielding 2008’s Armageddon in Retrospect and 2009’s Look at the Birdie. Now comes While Mortals Sleep, 16 more unpublished pieces described by Delacorte Press as “a present left behind by a departed loved one.” Perhaps. But Vonnegut’s short fiction was generally uneven, and one might be forgiven for wondering how many more presents there are. Because the further we move from his passing, the further we move from his best. Dave Eggers, in the book’s foreword, calls Vonnegut “a hippie Mark Twain”; he is also in some danger of becoming a dorm-lit Tupac Shakur. (Jacob)
Night Soul and Other Stories by Joseph McElroy: Underappreciated master McElroy is known (and loved) for the challenging body of work, and these stories aren’t likely to disappoint his fans, though they may have come across some of them before. The oldest story in this collection of 12 dates back to 1981 and the title story was first published in 1982. But seven of them are reportedly from the last decade, including one “The Campaign Trail” which one early review describes as imagining “the 2008 Democratic presidential primary much like a Matthew Barney film of the subject might: unnamed figures representing Hillary Clinton and Barack Obama ceremonially confront each other in a wild area of what once was Canada.” (Max)
Swamplandia! by Karen Russell: Swamplandia! is the first novel from New Yorker “20 Under 40” writer Karen Russell. It builds out of a short story from her 2006 collection St. Lucy’s Home for Girls Raised by Wolves and tells the tale of the Bigtree family, operators of an alligator wrestling tourist attraction deep in the Everglades. The family business is imperiled when the star ‘gator grappler dies, setting off a chain of catastrophes that lead 12-year-old Ava Bigtree to set off through the swamp in search of her lost sister Osceola. (Kevin)
Townie: A Memoir by Andre Dubus III: Andre Dubus III, of The House of Sand and Fog fame, grew up poor and hard in a Massachusetts mill town. His famous father, the late great short story writer Andre Dubus was AWOL, chasing younger tail, leaving Dubus and his three siblings to the care of their loving but overworked mother. The Townie is Dubus’s memoir of growing up and learning to fight before he learned to write. Advance word coming out of Kirkus and Booklist suggests this is going to be a good one. (Kevin)
When the Killing’s Done by T.C. Boyle: In his thirteenth novel, T.C. Boyle turns his attention to the Channel Islands off the coast of Santa Barbara and the practice of killing non-native fauna in an effort to protect the original ecosystem. A starred review in Booklist says, “Incisive and caustically witty, Boyle is fluent in evolutionary biology and island biogeography, cognizant of the shared emotions of all sentient beings, in awe over nature’s crushing power, and, by turns, bemused and appalled by human perversity.” (Edan)
The Strange Case of Edward Gorey by Alexander Theroux: Originally published in paperback in 2000, this biography of writer and illustrator Edward Gorey is being reissued by Fantagraphics Books in a new hardcover edition. Gorey was a reclusive, enigmatic figure who never married, professed asexuality in interviews, and became famous for a twisted and faintly ominous body of work — marked by a distinctive Victorian Gothic sensibility — that includes an alphabet book of dead children (“A is for Amy who fell down the stairs.”) Alexander Theroux was Gorey’s friend and neighbor for more than a quarter century. Part biography, part artistic analysis, and part memoir of a long friendship, with exclusive interviews conducted shortly before Gorey’s death, this book is generally accepted as the most comprehensive portrait of Gorey ever written. (Emily M.)
Mr. Chartwell by Rebecca Hunt: Perhaps you are aware that Winston Churchill called his spells of depression “black dog”? Well, Mr. Chartwell is that black dog–literally, he’s a man-sized, ill-intentioned black laborador. In Rebecca Hunt’s fabular first novel, Mr. Chartwell rents a room in a terrace in Battersea from a recently widowed young librarian named Esther Hammerhans: the black dog has business with the widow and with the war-weary Prime Minister. British reviewers have been quite taken with the book’s whimsy and its muscular grappling with the nature of depression—through the stinking, canine bulk of Chartwell himself and the dark philosophy he whispers such that only his intended victim can hear. (Emily W.)
The Illumination: A Novel by Kevin Brockmeier: A new novel from the author of A Brief History of the Dead asks the question: What if our pain is the most beautiful thing about us? On a particular Friday night at 8:17pm, the Illumination commences: wounds and bruises begin to radiate light, to glimmer and shine. The Illumination follows the journey of a private book, a journal of love notes written by a man for his wife. The journal passes into the hands of a hospital patient following a lethal accident, and as it passes from hand to hand—to a data analyst, a photojournalist, a child, a missionary, a writer, a street vendor—the recipients find their lives subtly altered by their possession of the book. (Emily M.)
Portraits of a Marriage by Sándor Márai: Sándor Márai is one of those novelists, like Irène Némirovsky, about whom those of us in the English-speaking community tend to employ words like “discovered,” as if they were an obscure wine of quality unearthed in a Parisian basement. When Márai killed himself in 1989 in San Diego, shortly before his books began being translated to English, it’s true that his status as a great mind of an imperial age was probably unknown to the gang at his local Circle K. However, the (Austro-)Hungarian novelist was one of the premier authors of his milieu–Budapest before World War II–and English readers are the redeemed rather than the redeemers now that we can finally read his beautiful novels. Portraits of a Marriage is a chronicle of a relationship and an era on the way out. (Lydia)
West of Here by Jonathan Evison: Evison’s new novel is the #1 Indie Next pick for February, meaning that independent booksellers across the United States have voted it their favorite of all the books scheduled for publication that month. Set in a fictional town on the Pacific coast of Washington State, West of Here moves back and forth in time between the stories of the town’s founders in the late 1890s, and the lives of their descendants in 2005. It’s a structure that allows for a remarkably deep sense of history and place, and Evison handles the sweeping scope of his narrative masterfully. (Emily M.)
The Evolution of Bruno Littlemore by Benjamin Hale: In this buzzed-about debut novel from Twelve Books, the eponymous hero is a chimpanzee who has learned to speak, read, and enjoy the visual arts, among other human endeavors. There is apparently interspecies love (and sex!) in the book, and the jacket copy declares that it goes beyond satire “…by showing us not what it means, but what it feels like be human — to love and lose, learn, aspire, grasp, and, in the end, to fail.” A bookseller at legendary West Hollywood indie bookstore Book Soup has raved to me about the novel’s inventiveness and its beautiful, beautiful prose. (Edan)
Other People We Married by Emma Straub: This debut collection of stories is one of the first books being printed by FiveChapters Books, the new publishing imprint of the popular website FiveChapters, which publishes a story a week in five installments. Straub inaugurated the New Novella series for Flatmancrooked Press with her much-praised novella, Fly-Over State, and she proved that with the internet and some good old fashioned charm, an unknown author can sell books and win hearts. Straub’s new book includes that novella as well as eleven other stories. Straub has been compared to Lorrie Moore for her humor and playful wit, and Moore herself has called this debut collection, “A revelation.” (Edan)
The Late American Novel: Writers on the Future of Books edited by C. Max Magee and Jeff Martin: Yes, there’s certainly a conflict of interest in naming my book one of the year’s most anticipated, but what’s the point of having a website if I can’t use it to self-promote? And anyway, if my co-editor Jeff and I had an ideal reader in mind when we put together this collection, it was the Millions reader, passionate about books and reading and thoughtful about the future of this pastime as it intersects with the onslaught of technology. The essays we managed to gather here are illuminating, entertaining, funny, and poignant, and taken together they form a collection that is (dare I say) essential for the reader and writer invested in books at this critical and curious moment in their long history. Along with appearances by Millions staffers Garth Risk Hallberg, Emily St. John Mandel, and Sonya Chung and an introduction by me and my co-editor, this collection includes pieces by Jonathan Lethem, Reif Larsen, Elizabeth Crane Victor LaValle, Ander Monson, Tom Piazza, Lauren Groff, Benjamin Kunkel, Clancy Martin, Joe Meno, Rivka Galchen, and several others. All you technophiles: Consider making this the last physical book you ever buy. All you technophobes: This might be a good candidate for the first ebook you ever own. (Max)
You Think That’s Bad by Jim Shepard: Jim Shepard will once again dazzle us with his talent for universalizing the highly particular. According to the publisher, the stories in this new collection, like those of his National Book Award nominated Like You’d Understand Anyway, “traverse centuries, continents, and social strata,” featuring, among others, an Alpine researcher, a French nobleman’s manservant, a woman traveling the Arabian deserts to track an ancient Shia sect, and the inventor of the Godzilla epics. Further, Shepard culls “the vastness of experience—from its bizarre fringes and breathtaking pinnacles to the mediocre and desperately below average.” Easier said than done, and Shepard is a master. One of the stories, “Boys Town,” appeared in the November 10 issue of the New Yorker. (Sonya)
The Tiger’s Wife by Tea Obreht: Of all The New Yorker’s choices for the “20 Under 40” list, none was more surprising than Obreht, the youngest on the list and the only author chosen who had not yet published a book. That changes in March with the publication of her debut novel The Tiger’s Wife. The novel follows a young doctor, Natalia, as she travels to a war-torn Balkan country to work at an orphanage. But Natalia is also in search of answers – specifically, what happened to her grandfather, who has died recently. With blurbs from T.C. Boyle, Ann Patchett, and recent National Book Award winner Colum McCann already secured, expectations are high for this literary debut. (Patrick)
At the Fights: American Writers on Boxing from Library of America edited by George Kimball and John Schulian: Boxing writing inhabits a curious niche, resting at the juncture of sports journalism and noir. Perhaps “resting” is the wrong word, as the genre’s best examples rush toward victory or loss; even away from the arena, motion remains the thing. In a recent Irish Times article, Kimball described a 1954 John Lardner piece as At the Fights’ “cornerstone,” and delivered its opening line: “Stanley Ketchel was 24 years old when he was fatally shot in the back by the common-law husband of the lady who was cooking his breakfast.” Also on the card: Talese, Mailer, Mencken, and many, many others. (Jacob)
Unfamiliar Fishes by Sarah Vowell: “I’m better with dead people… than the living,” claims Sarah Vowell, only half joking. Her books often deal with historical figures, in most cases, long-dead and overlooked. In Assassination Vacation she chronicled her travels while researching the murders of Presidents Lincoln, Garfield, and McKinley. Details such as Garfield’s assassin bursting into song during trial coated the history lessons with a good dose of social intrigue. Vowell’s latest, Unfamiliar Fishes, was borne out of a fascination with American Imperialism in 1898, a year when the U.S, annexed Hawaii, invaded Cuba and the Philippines, and acquired Guam and Puerto Rico. Vowell follows the Americanization of Hawaii from its first missionary settlers to the overthrow of its monarchy and later annexation. A quote exemplary of Vowell’s humor, to prep you for reading: “They still love their last queen, celebrate her birthday, drape her statue with leis. It can be a traditional, reverent place. And I am a smart-alecky libertine.” (Anne)
Otherwise Known as the Human Condition: Selected Essays and Reviews by Geoff Dyer: Dyer has a gained a reputation as one of our most inventive essayists (not to mention novelists). Dyer delights in bending genres and subverting expectations, and covering a 25-year span, this collection will likely showcase Dyer’s impressive range. The book, published by indie Graywolf, appears to have at least some overlap with a British collection that came out last year under the title Working the Room. The Guardian called Dyer “the most productive of slackers” and described the British collection as seeming to be “constructed as a vague quest. You move through the unusually lit rooms of the author’s fascinations.” (Max)
All the Time in the World: New and Selected Stories by E.L. Doctorow: When a new story collection arrives from an elder master, one is eager to know the balance of “new” versus “selected,” who has done the selecting, and by what criteria. But Random House has revealed little as of yet. We do know that six of the stories have never before appeared in book form; the title story appeared in the winter ’09 issue of the Kenyon Review. Doctorow is the author of 11 novels, and I for one hate to think the release of this collection signals a denouement in his novel production. On January 6, Doctorow turns 80 – happy birthday, ELD; may this be a productive year for you, for all our sakes. (Sonya)
Pym by Mat Johnson: Eager readers of Edgar Allan Poe, having dispatched his short stories may have then turned to his hauntingly weird novel The Narrative of Arthur Gordon Pym of Nantucket. As I noted a few years back, the book has been an inspiration for generations of adventure and science-fiction writers and has maintained a cultish allure to this day. It is into this milieu that Johnson’s Pym arrives. Johnson wrote a pair of well regarded literary novels in the early part of last decade, turned to comics, and is now returning novels with this tale of a literature professor obsessed with the Pym tale, believing it to be true, and tracing the the journey of the doomed sailor to see what secrets might be unlocked. (Max)
Day of the Oprichnik by Vladimir Sorokin: The scenes of sodomy between Stalin and Krushchev in Vladimir Sorokin’s novel Blue Lard incurred charges of pornography and sparked protests, which included protestors wearing latex gloves while tossing flowers and copies of Sorokin’s books into a papier mâché toilet. Another novel of Sorokin’s (The Norm) depicts a Russian society where coprophagy is a la mode and only outcasts and outsiders refuse to partake. Needless to say, Sorokin’s fiction isn’t restrained in its critique of contemporary Russian society. His commentary continues in his latest novel, Day of the Oprichnik, where the ruling classes incorporate futuristic technology alongside the governing strategies of Ivan the Terrible. As Sorokin describes: “I just imagined what would happen to Russia if it isolated itself completely from the Western world–that is, if it erected a new Iron Curtain…. This would mean that Russia would be overtaken by its past, and our past would be our future.” (Anne)
This Vacant Paradise by Victoria Patterson: Victoria Patterson follows her acclaimed debut story collection Drift with a novel – her first – set in the posh environs of 1990s Newport Beach, California. As the title suggests, Patterson’s novel promises a social critique of the often vapid, money-laden 90s. It follows the beautiful but aging Esther Wilson as she attempts to navigate life without the aid of a wealthy man on her arm. Drift was a finalist for both the California Book Award and the Story Prize. (Patrick)
The Art of Asking Your Boss for a Raise by Georges Perec: Georges Perec wrote: “for us, who continue to have to do with a human race that insists on thinking, writing and above all publishing, the increasing size of our libraries tends to become one real problem.” We readers will have to deal with the fortunate burden of clearing shelf-space for another novel by Perec this spring, with the first English translation of The Art of Asking Your Boss for a Raise. The novel depicts an office underling’s attempts to ingratiate himself to his corporate superiors, while his neuroses expand a la Woody Allen. If Perec’s astutely observed yet darkly comical catalogue of managing directors, magnates, and heads of state in his essay “The Holy of Holies” is any indication, this “account of the office worker’s mindset” will offset the disorder it imposes. (Anne)
The Pale King by David Foster Wallace: When David Foster Wallace died in 2008, he left behind a huge, fragmentary manuscript set in and around a Midwestern IRS office and featuring a character named David Wallace. The manuscript, quixotically, takes monotony as its master-trope, much as Infinite Jest used “entertainment.” Since then, Michael Pietsch, Wallace’s real-life editor, has been working to arrange the fragments in book form. Published excerpts of varying degrees of sublimity – reportedly including two stories from Oblivion – offer glimpses of a Jest-like complex of supporting characters. But these beleaguered office workers have more in common with the denizens of the Ennet House Drug and Alcohol Recovery House (redundancy sic) than with the Enfield Tennis Academy’s student-athletes. A note, quoted in D.T. Max’s New Yorker piece, hints at the gift Wallace wanted to give his characters: “Bliss – a-second-by-second joy and gratitude at the gift of being alive, conscious – lies on the other side of crushing, crushing boredom.” For readers still mourning the books he didn’t get to write, may it be so. (Garth)
The Free World: A Novel by David Bezmozgis: Another debut novel from a Twenty-Under-Forty’er, Bezmogis’ The Free World tells the story of three generations of the Krasnansky family as they try to escape Communist Russia for the United States. They are waylaid in Rome where the characters pursue different paths through the underbelly of their adopted city, ultimately bringing them into tension with each other as they grapple with a merciless immigration system and try to decide the family’s fate. (Kevin)
The Great Night by Chris Adrian: Chris Adrian’s last novel, The Children’s Hospital, showed him to be a writer of immense daring, curiosity, and heart. Along with two other books, it earned him a spot (by a whisker – he’s now 40) on The New Yorker’s “20 Under 40 List.” His new book The Great Night, looks back to one of magical realism’s forebears: Shakespeare. It’s a retelling of A Midsummer Night’s Dream, set in modern-day San Francisco’s Buena Vista Park. (Garth)
Someday This Will Be Funny by Lynne Tillman: As if the publication of Lynne Tillman’s first book of short stories in nearly ten years–and her first book following her stand-out novel, American Genius: A Comedy–weren’t enough to celebrate, Tillman’s Someday This Will Be Funny also marks the debut of Richard Nash’s new publishing venture, Cursor. If Nash’s reading list, interviews, and speeches are any indication, Cursor will take publishing one giant leap into the future, with Tillman’s book at the forefront. Tillman’s new collection features appearances by Madame Realism, Marvin Gaye, and Clarence Thomas and incorporates epistle, quotation, and haiku as the stories “bounce between lyrical passages of lucid beauty, echoing the scattered, cycling arpeggio of Tillman’s preferred subject: the unsettled mind.” Tillman once said in an interview: “Writers are promiscuous with experience, absolutely.” She’s a woman of her word, and of the word. Hear, hear! (Anne)
Between Parentheses: Essays, Articles and Speeches 1998-2003 by Roberto Bolaño: Anyone who read “Literature + Illness = Illness” or “Myths of Chulu” in last year’s collection The Insufferable Gaucho can attest that a Bolaño essay no more resembles Montaigne than a Bolaño novel resembles Samuel Richardson. Indeed, the closest cousin of Bolaño’s nonfiction may be his fiction, and in some cases it’s hard to tell which is which. Confusion over the genre of the short piece “The Beach” (essay? story?) seems to have been the source of the misconception that Bolaño was a recovering junkie. Either way, though, it’s phenomenal writing – a single, extended, coruscating sentence – and it appears in this Natasha Wimmer translation of a 2004 Anagrama volume, along with 340 other pages of uncollected, unclassifiable Bolaño. (Garth)
The Tragedy of Arthur by Arthur Phillips: Phillips hasn’t quite recaptured the buzz that accompanied Prague his debut novel about expats in Budapest, but this new book just may. “The Tragedy of Arthur” is a fictional (or is it?), lost Shakespeare play about King Arthur and it is accompanied by a long introduction penned by a character (or is it the author?) named Arthur Phillips. Intertextual games ensue. (Max)
The Long Goodbye by Meghan O’Rourke: In another memoir about grief, O’Rourke draws on her dual patrimonies as a poet and cultural critic. The result is a searching account of losing her mother to cancer. O’Rourke finds herself blindsided by her own grief and bewildered by her inability to “share” it. Even as she documents her own feelings, she examines the changing cultural role of grief, and comes to long for the mourning rituals that are even now vanishing. The interplay of the objective and the subjective here speaks to audiences of both Oprah and The New Yorker, where the book was excerpted. (Garth)
The Basement of the Ivory Tower by Professor X: To begin, a short exemplary excerpt from Professor X’s manifesto against higher education for all: “America, ever-idealistic, seems wary of the vocational-education track. We are not comfortable limiting anyone’s options. Telling someone that college is not for him seems harsh and classist and British, as though we were sentencing him to a life in the coal mines. I sympathize with this stance; I subscribe to the American ideal. Unfortunately, it is with me and my red pen that that ideal crashes and burns.” And let me tell you (because I have wielded that red pen and know Professor X’s bloody business: adjuncting and community college teaching) it is a sad, sad world out there in America’s lesser colleges, many as crassly business-minded as Walmart and utterly delighted to have students who aren’t cut out to make the grade. Of course, liberal-minded idealists will object and cry Barbara Covett! at the likes of Professor X, but having been in his trench, I know how deeply painful and demoralizing—and pointless and dishonest—it is to teach college-level curriculum to those who are not equipped for high school: It’s like trying to teach the legless to dance. This is another commentary on the shoddy state of American higher education (see also, most recently, Ed Dante’s “Shadow Scholar” piece at The Chronicle of Higher Ed)—sure to be an incendiary little book. (Emily W.)
The Uncoupling by Meg Wolitzer: Wolitzer’s ninth novel is inspired by Lysistrata, the ancient Greek play wherein the women withhold sex from their menfolk until they agree to end their war. In Wolitzer’s novel, a New Jersey high school puts on a production of the play, and soon, the females in the town lose interest in coupling with their men. The Uncoupling follows Wolitzer’s bestselling novel The Ten Year Nap, about the lives of stay-at-home mothers in New York City, and I hope her latest is as funny, readable and wise as that book was. (Edan)
Fire Season by Philip Connors: This debut nonfiction effort by Connors is an account of his time spent over part of each of the last ten years as a fire lookout in New Mexico in a 7′ x 7′ tower. Connors also happens to be a literary critic and journalist whose writing has been fairly extensively published, including book reviews in the LRB and VQR. Some of his most powerful work has taken the form of diaries, including one in n+1 that recounts his brother’s suicide and another in The Paris Review about life as a fire lookout. The book takes the diary form and expands on it, with five long chapters, each one dedicated to a month he spends in the lookout tower each year. (Max)
My New American Life by Francine Prose: Francine Prose, former National Book Award finalist and prolific producer of novels, short stories, children’s books and nonfiction, will take us on a fictional tour of the bad old days of Bush-Cheney. My New American Life spins around Lula, a 26-year-old Albanian living in New York City on an expiring tourist visa. When she lands a job as a caretaker for a rebellious teenager in suburban New Jersey, she begins to live the American dream — until her brothers show up in a black Lexus SUV, a jarring reminder that family and history are always with us. The novel, according to the publisher’s jacket copy, captures the moment when American “dreams and ideals gave way to a culture of cynicism, lies and fear.” (Bill)
Swim Back to Me by Ann Packer: Ann Packer, who first burst onto the scene in 2002 with her blockbuster debut The Dive from Clausen’s Pier, returns with a fourth book. Kirkus describes it as a novella and five stories in its starred review, while the publisher calls it a collection of narratives framed by two linked novellas. Whichever the case, the collection seems likely to investigate the same avenues of grief that have been a hallmark of her prior, powerful work. (Max)
Bullfighting by Roddy Doyle: The title story of Doyle’s collection appeared in the New Yorker in early 2008 and concerns a collection of middle-aged Irish guys blowing off steam on a guys’ trip to Spain, wives and kids left behind in Dublin. When I traveled to the Mediterranean later that year and saw many a seaside watering hole advertising the “Full English Breakfast,” I thought of this story. (Max)
Nat Tate: An American Artist: 1928-1960 by William Boyd: Boyd, a wonderful author (Any Human Heart, Brazzaville Beach) who for whatever reason doesn’t seem to get much attention outside of prize committees, made culture vultures everywhere feel like complete assholes in 1998, when he carefully constructed and published a life of a fictional American artist who died by suicide at age 32. Enlisting the help of David Bowie, Gore Vidal, and others, Boyd had a number of people who should have known better reminiscing about Tate and lamenting his early death. Evidently a lot more people would have looked a lot more stupid had David Lister (an editor at The Independent who knew about the ruse), not revealed the hoax prematurely. Boyd’s great literary hoax is to be reissued this April. (Lydia)
Say Her Name by Francisco Goldman: A year after the publication of his last novel, The Divine Husband, Francisco Goldman watched his wife of two years, the promising young writer Aura Estrada, die as a result of a freak body-surfing accident. The aftermath sent him back to journalism for a time. Now Goldman has trained his considerable novelistic powers directly on the tragedy of his wife’s death, and on the ineffable continuities among love, grief, and art. (Garth)
There Is No Year by Blake Butler: Butler, one of the minds behind HTML Giant and author of the indie press favorite Scorch Atlas hits the big time with this new novel. The Harper Perennial catalog glosses it as evocative of House of Leaves and the films of David Lynch. A more iconoclastic “20 Under 40” list might have made room for Butler, and as for Harper’s labeling 32-year-ole Butler “one of the voices of his generation,” that may say more about how apocalypse-minded we are these days than it does about Butler. (Max)
Blue Collar, White Collar, No Collar: Stories of Work edited by Richard Ford: We’ve reminisced in the past about the steady disappearance of the short story anthology. Once common, these pocket-sized wonders now fill shelves at the kind of used bookstore I like to haunt but are rarely seen on the new release table at your local Borders. Still, a timely theme in these economically stagnant times (employment or lack thereof) and the imprimatur of a master of the form, Richard Ford, make this collection worth looking out for. Sure, most if not all of these stories have been previously published in other books, but how nice to have Stuart Dybek, Edward P. Jones, Charles D’Ambrosio, Ann Beattie, Alice Munro, John Cheever, Richard Yates, Deborah Eisenberg, Jhumpa Lahiri, and several others, all thematically linked and between two covers. (Max)
Embassytown by China Mieville Give China Mieville credit for refusing to rest on his laurels. After scoring a major hit with last year’s Kraken, his seventh lushly imagined fantasy novel, Mieville will abandon the world of Bas-Lag and his phantasmagorical London and take his fans someplace altogether different and unexpected. Embassytown, he recently told a Liverpool audience, will contain “science fiction, aliens and spaceships.” The title refers to “a city of contradictions on the outskirts of the universe” where humans and the native Hosts live in uneasy peace. When an unimaginable new arrival hits town, catastrophe looms. Given Mieville’s track record, expect a wild ride. (Bill)
Mondo and Other Stories by J.M.G. Le Clezio: The 2008 Nobel laureate’s large body of work continues to make its way into English. This collection of stories was first published in French in 1978. One of the stories collected here, the atmospheric “The Boy Who Had Never Seen the Sea,” appeared in the New Yorker shortly after Le Clezio’s Nobel win. Like that story, the rest in this collection focus on a child protagonist who seems to see the world through a different set of eyes. (Max)
To Do: A Book of Alphabets and Birthdays by Gertrude Stein: Described as “a fanciful journey through the alphabet” and originally conceived as a children’s book, Stein’s To Do “spiral[ed] out of simple childlike progression, so that by the time she reached the letter H, Henriette de Dactyl, a French typewriter (who exchanges typed messages with Yetta von Blickensdorfer, a German typewriter, and Mr. House, an American typewriter) wants to live on Melon Street and eat radishes, salads, and fried fish, and soup.” Written in 1940, the book was rejected several times by publishers for being too complex for children. A text-only version appeared in 1957 (after Stein’s death) from Yale, and in 2011, the publisher is putting out To Do with Giselle Potter’s illustrations, realizing Stein’s original concept. (Sonya)
Paying for It by Chester Brown: Throughout his twenty-year-long career, Chester Brown has developed a reputation as a wan and fearless confessor, presenting his lapses and failures from a dispassionate remove. Paying For It—subtitled “A Comic-Strip Memoir About Being a John”—may prove to be his most quietly self-lacerating. In exploring his penchant for prostitutes, Paying For It will likely feature little glamour, little boasting, and an understated honesty. Drawn and Quarterly predicts that the book “will be the most talked about graphic novel of 2011,” yet Brown doesn’t seem to relish controversy. When asked in 2004 why he might write so openly about his sex life, he responded, “Because it’s interesting.” (Jacob)
The London Train by Tessa Hadley: Stalwart of the fiction section of The New Yorker, Hadley’s latest is described as a “novel in two parts.” An early review in the Financial Times calls the book “darkly elegant” with “two distinct halves reflecting, enhancing and informing each other. The social and geographical territory is familiar for Hadley, that of the bourgeoisie and their travels (and travails) as they go looping between London and Cardiff.” (Max)
Pulse by Julian Barnes: Barnes’s latest is his third book of short stories. A preview from The Spectator explains the collection’s over-arching theme: “Each character is attuned to a ‘pulse’ – an amalgamation of a life-force and an Aristotelian flaw. They struggle against or thrive upon the submerged currents of life – touched by ambition, sex, love, health, work and death.” (Max)
The Tao of Travel by Paul Theroux: Theroux, the aging, still entertaining rake of the travel writing genre will indulge in a potentially interesting exercise here, collecting “the best writing on travel from the books that shaped him,” from Samuel Johnson, Eudora Welty and Mark Twain to Peter Matthiessen, Pico Iyer, and John McPhee. Cheesy title aside, it certainly sounds like an essential tome for travel writing fans. (Max)
State of Wonder by Ann Patchett: Ann Patchett has fearlessly ignored the admonition to write what you know. Her breakout novel, the intoxicating Bel Canto, centered around opera, Japanese business practices and a hostage situation in a South American embassy. Her new novel, State of Wonder, will have elements that sound similarly abstruse – doctors, medical students, drug development and the Amazon jungle. But at the heart of the novel is an inspiring student-teacher relationship, which, Patchett told an interviewer, is similar to the bond she had with her own writing teachers, Allan Gurganus and the late Grace Paley. “This one was a picnic,” Patchett says of State of Wonder, “because I didn’t have to make everything up wholesale.” (Bill)
The Astral by Kate Christensen The question to ask about Christensen’s next novel is will it deliver up another character on par with Hugo Whittier of The Epicure’s Lament? (“May we all simmer in the dark with such humor and gusto,” Sam Lipsyte wrote of Christensen’s immortal misanthrope.) The Penn-Faulkner Award-winning Christensen’s forthcoming sixth novel promises the story of a successful Brooklyn poet, Harry Quirk, whose marriage is in crisis and whose children have been swept up in cultishness of various kinds (perhaps a sort of Freedom, redux?). As a writer who reliably turns out novels that elicit warm praise from most of her reviewers, expect (at least) a genial, smart, gently satirical tale of the joys and woes of bougie New York life. (Emily W.)
The Curfew by Jesse Ball: What to expect from an author who teaches classes on dreaming, false identities, and lying? If the author is Jesse Ball, then one should expect expectations to be defied, plot summaries to fall short, and critics to use structures to describe the framework of his imaginative plottings (nesting-boxes, Klein bottle, labyrinth). Perhaps the magical realms Ball creates have something to do with his process: “to conjure up a state of affairs–a glimpse of one situated thought, where the situation is all that surrounds it in the mind.” Or with his imaginative approaches to writing, evident in his classes. Ball’s novel The Curfew depicts a father and daughter during wartime, the father risks it all to find his wife and the young daughter imagines her father’s treacherous journey. Expect for this description to only loosely conjure the realms of wonder within. (Anne)
Kurt Vonnegut: Novels & Stories 1963-1973: For those seeking Vonnegut’s aforementioned best, the Library of America will bestow upon him its black-cover treatment, collecting his great early novels (Cat’s Cradle, God Bless You, Mr. Rosewater, Slaughterhouse-Five, Breakfast of Champions) and stories into one thick volume. In this setting, it will be especially jarring to read Breakfast of Champions, whose “World Classics Library” “published hard-core pornography in Los Angeles, California.” (Jacob)
The Storm at the Door by Stefan Merrill Block: The precocious Block published his first novel at 26. The Story of Forgetting, ambitious but flawed, nonetheless suggested Block might be a name to watch. Sure enough, here he is with a second novel arriving before his 30th birthday. This time around, Block will again take mental illness as a primary theme. (Max)
Lola, California by Edie Meidav: Meidav is a rare thing, a less than well known writer who continues to publish big, dense, challenging novels with a major press. Meidav’s third such effort weighs in at 448 pages and asks “Can an old friend carry in amber the person you were going to become?” Should Meidav be better known? Almost definitely. (Max)
Once Upon a River by Bonnie Jo Campbell: A 2009 National Book Award nod (for her collectionAmerican Salvage) landed Campbell on the radar of many a reader. Her backcountry fiction focuses on rural characters, meth-cookers, and bad jobs or none at all, all shot through with redemption and compassion. This new novel, which Campbell says has been in the works for more than four years, sounds like something of a modern-day Huck Finn, following a sixteen-year-old girl who takes to the Stark River in search of her vanished mother. (Max)
Estonia: A Ramble Through the Periphery by Alexander Theroux: In his one-of-a-kind Year in Reading piece, Theroux mentioned being this year “in the outback of frozen Estonia where I was not only writing a book but, as a kind of project, undertaking a private study of St. Paul and his life.” The book in question was this title, forthcoming from Fantagraphics. The book emerges from Theroux’s time spent in the former Soviet republic while his wife was on a Fulbright Scholarship. Ever observant, Theroux uses Estonia and its people as a lens through which to look back at America. (Max)
The Devil All the Time by Donald Ray Pollock: Former meatpacker and paper mill employee Pollock’s debut story collection Knockemstiff was a favorite amongst indie booksellers, landed on both Amazon and Publishers Weekly’s lists of best books of the year, and garnered the following enigmatic praise from the LA Times “a powerful, remarkable, exceptional book that is very hard to read.” According to his blog, Pollock’s debut novel is set in the 50s and 60s and “centers on the convergent lives of a tough but morally-upright young man from Ohio, a pair of serial killers who prey on hitchhikers, and an itinerant, spider-handling preacher and his crippled guitar virtuoso accompanist.” Naturally. (Patrick)
House of Holes: A Book of Raunch by Nicholson Baker: There’s very little info out there on Baker’s forthcoming novel, aside from some Twitter-excitement, including, “I don’t think it’s about poems” (McNally Jackson Bookstore) and “Back to Fermata territory?” (Ed Champion). So fans of Baker’s earlier (erotic) novels may be in for a treat. At Amazon, the description reads: “a gleefully provocative, off-the-charts sex novel that is unlike anything you’ve read.” (Sonya)
Night Film by Marisha Pessl: My first impression of Marisha Pessl’s Special Topics in Calamity Physics was clouded by the many, many stunned reviewers who could not help but mention Pessl’s beauty, often in the first paragraph of their reviews. (Indeed, it has been said that her picture was removed from advance copies of the novel to avoid just this.) Fortunately for those who do not choose books based on the bangability of their authors, while Ms. Pessl is hot, her prose is, by most assessments, hotter. Whether or not you liked Special Topics, you have to admit that the babe-authoress created one of the most startlingly distinctive fictional voices of recent years in Blue van Meer, the heroine-narrator of Pessl’s academic novel qua murder mystery (Oh, the breathtaking allusiveness! Ah, the witty figurative language—almost exhausting in its inventiveness!). My fear for Night Film—according to Pessl’s agent, “a psychological thriller about obsession, family loyalty and ambition set in raw contemporary Manhattan”—is that without Blue, Pessl’s nothing. Can she–could anyone (think Jonathan Safran Foer after Everything Is Illuminated)–generate another voice as distinct and scintillating as Blue’s? (Emily W.)
Lights Out in Wonderland by DBC Pierre: After the curious panic surrounding 2003’s Vernon God Little (“It’s sort of about Columbine!” “He’s not even from here!” “It won all kindsa prizes!”), Australia’s DBC Pierre faded from American minds. Three years later, his Ludmilia’s Broken English failed to gain traction, and it seems a sensible bet that Lights Out In Wonderland—another scattershot soap-box rant—will continue the downward trend. But as Lights Out is a foggy howl against the global market (“My hair crests over my head like the dying wave of capitalism,” reads one unfortunate simile), Pierre shouldn’t get too upset if units fail to move. (Jacob)
Anatomy of a Disappearance by Hisham Matar: Hisham Matar, author of In the Country of Men, is the child of Libyan parents. In 1990, the novelist’s father Jaballa Matar was kidnapped in Cairo and extradited to Tripoli as a political dissident. Since then, his family has endured a special hell of loss and uncertainty–scant news punctuating long periods of silence–which Hisham Matar described in a haunting piece for the Gaurdian last January. His novel, due in August, is about a missing father, and will presumably draw upon Matar’s experience as the child of someone disappeared. (Lydia)
Beijing Welcomes You by Tom Scocca: Slate blogger and former New York Observer Editor Scocca chronicles his years spent in Beijing, observing a city and a culture moving into the global spotlight. The book examines the Chinese capital on the cusp of its global moment, tracking its history and exploring its singular character. Since Scocca lived in Beijing in the middle of the last decade, one can assume the buildup to the 2008 Beijing Olympics figures prominently in the text. Assuming Scocca brings his typical insightful and sometimes scathing perspective (witness his epic takedown of The New Yorker for publishing Dave Eggers’s The Wild Things excerpt which ran two years ago at The Awl), Beijing Welcomes You promises to offer astute cultural observation on a culture Americans would do well to observe. (Patrick)
1Q84 by Haruki Murakami: Murakami’s three volume stemwinder came out in Japan in 2009 and sold out its first printing in a day. The first two volumes will appear in the US this fall and fervor among English-speaking Murakamians is already building. The alpha-numeric title is a play on Orwell’s 1984 – in Japanese the letter Q is a homophonic with the number 9 – and the book’s plot (which was a tightly guarded secret prior to its Japanese release) concerns two characters, a PE teacher and a writer, who become involved in a religious cult through which they create “a mysterious past, different than the one we know.” (Kevin)
The Art of Fielding by Chad Harbach: In the Winter issue of n+1, Harbach published a provocative piece suggesting two paths for the novelist: MFA vs. NYC. Who needs the former, when you can ride the latter to a half-million dollar advance? Insiders have, predictably, likened Harbach’s treatment of a baseball team at a Wisconsin liberal arts college – presumably as a lens through which to view the American scene and the human condition – to the aforementioned Enfield Tennis Academy. (Garth)
The Forgotten Waltz by Anne Enright: Enright, winner of The Booker Prize for the international bestseller The Gathering, explores a woman’s affair and her relationship with her lover’s young daughter. (Max)
Parallel Stories by Péter Nadas: Péter Nádas’ A Book of Memories might just be the best novel published in the ’80s, and Imre Goldstein’s translation into English of its massive successor would, in a just world, be the publishing event of the fall. Nádas is, simply put, a master. The freedom with which he combines the diverse idioms of realism, modernism, and postmodernism can only come from decades of discipline. More importantly – as a recent excerpt in The Paris Review illustrates – he generates a continuous, Proustian intensity of feeling and perception – psychological, philosophical, and physical. This three-volume work, structured as a set of braided short stories, tracks two families, one Hungarian and one German, across many decades. Readers looking for a fuller preview might consult Hungarian Literature Online, or Deborah Eisenberg’s appreciation in The New York Review of Books. (Garth)
Unknown (fall and beyond):
The Queen of the Night by Alexander Chee: Described by Chee – a Whiting Award and NEA Fellowship recipient, currently a Visiting Professor at the Iowa Writers’ Workshop — as a kind of “historical fairy tale,” Queen is set in the time of the Second Empire (1852-70), in Paris. Chee’s first novel, Edinburgh, focused on a young boy’s surviving pedophilia. “The Queen of the Night sort of picks up in some ways from where Edinburgh leaves off,” Chee said in an interview, “in the sense that it is about a young woman who believes her voice is cursed, and if she uses it, terrible things will happen. And then she does, and they do. And she tries to put it right as best she can.” (Sonya)
The Map and the Territory by Michel Houellebecq: Michel Houellebecq, the reigning bad boy of French letters, has been accused of every imaginable sin against political correctness. His new novel, The Map and the Territory, is a send-up of the art world that tones down the sex and booze and violence, but it does feature a “sickly old tortoise” named Michel Houellebecq who gets gruesomely murdered. The book has drawn charges of plagiarism because passages were lifted virtually verbatim from Wikipedia. “If people really think that (this is plagiarism),” Houellebecq sniffed, “then they haven’t the first notion what literature is.” Apparently, he does. The Map and the Territory has just been awarded the Prix Goncourt, France’s most prestigious literary prize. (Bill)
The New Republic by Lionel Shriver: Shriver apparently finished a draft of The New Republic in 1998. After six well-regarded but commercially ignored novels, she couldn’t find a buyer for this story of “cults of personality and terrorism” and was about to give up fiction-writing altogether. Flash forward a dozen years: Shriver is an Orange Prize winner, a National Book Award finalist, and has sold over a million copies worldwide. She has been fêted by…er…The New Republic, and hailed in these pages as “America’s Best Writer.” Also: terrorism and cults of personality are very much on people’s minds. Maybe this will be the book that lands her on the cover of Time. (Garth)
Hot Pink by Adam Levin: Viewed from afar, Levin’s first novel, The Instructions, looked, for good and ill – mostly for good – like a kind of apotheosis of the McSweeney’s house style: playful, inventive, funny-melancholic, youth-focused. However, it also possessed a couple of attributes that set it apart from other titles on the McSweeney’s list. One was its dialectical genius; another was the ferocity of its anger at the way the world is (which elsewhere in McSweeneydom often gets sublimated into melancholy). Though Levin wears his influences on his sleeve, his sensibility is utterly distinctive, and almost fully formed. Look for the stories in the follow-up, Hot Pink, to be formally audacious, occasionally adolescent, but always bracing in their passion. (Garth)
The Unfolding Haggadah by Jonathan Safran Foer with Nathan Englander: The only evidence of what this might be comes from Tablet where an essay by Judith Shulevitz includes a note about this title in the author’s bio. An anthology it is then. And with Foer and Englander at the helm, this is one to keep on the radar. (Max)
Four Selected Titles with UK publication dates but no US date yet:
Dante in Love by A. N. Wilson: Later this year, English biographer and critic A.N. Wilson comes out with Dante in Love, a study of the Florentine poet that, confusingly, shares a title with a 2005 book about Dante written by Harriet Rubin. Wilson’s book will, one imagines, address Dante’s exile, Beatrice, Guelphs, Ghibellines, and so on; his perspective as a very public defector from and subsequent re-convert to Christianity might bring new insight to this well-trod territory (then again, it might not). (Lydia)
River of Smoke by Amitav Ghosh
King of the Badgers by Philip Hensher
The Stranger’s Child by Alan Hollinghurst
So, which of these books are you most looking forward to and which great new books did we neglect to include?
Dan Chaon’s most recent novel, Await Your Reply, is a masterful tale of identity and how it’s made, stolen, and remade. The book, with its three interlocking stories, and locales as disparate as Las Vegas, Nebraska, and the Arctic, is intensely readable, but as Janet Maslin of The New York Times points out, “…the real pleasure in reading Mr. Chaon is less in finding out where he’s headed than in savoring what he accomplishes along the way.” Chaon is also the author of the novel, You Remind Me of Me, and two short story collections, Fitting Ends, and Among the Missing, which was nominated for the National Book Award. He was my creative writing teacher at Oberlin College, where he is the Irvin E. Houck Associate Professor of the Humanities.
The Millions: What really struck me about this book was how realistic and specific your characters felt, even as some of them dissolved and became nothing more than a name, a wardrobe, a series of gestures and ways of speaking. At the same time, though, other characters remained real—and, this isn’t exactly the right word—pure. How did you go about creating the different characters for this novel? How important was it that they all be believable, and what does that mean for this kind of book?
Dan Chaon: The book was written in little pieces, almost like a series of short-short stories in the beginning. When I started, I didn’t know anything but little glimmers—scenes—that eventually began to fit together. In general I don’t plan out my characters in advance. Mostly, I begin with images, moments—a severed hand in an ice bucket, a lighthouse on the prairie, a guy driving down the Dempster Highway toward the Arctic Ocean. Once I had the moment in my head, I began to circle out and try to understand the people who were involved. So I suspect that my experience of writing the book, and the discoveries that I made as I went along, are not so different from the readers’ experience. The characters all started out as “real” to me—I was getting to know them as I went along, the same way you get to know friends over time–and I was as shocked as anyone when some of them turned out to be fakes. You say that some of the characters “remained real—and this isn’t exactly the right word—pure,” –but I actually think this is exactly the right coinage. Pure. I really like that word. That’s one of the issues that I was thinking of when I was writing. What is a “real” self? What is a “pure” representation of character? Is it just a consistent set of behaviors? Is there something truly essential that makes you, you? I don’t think I came up with an answer, but it was fun to think about.
TM: In your acknowledgments, you write that Await Your Reply pays homage to various writers you’ve loved, from Ray Bradbury to Shirley Jackson to Peter Straub, among others. What was the extent of your “gestures and winks” toward their work? Is this your own playful, literary version of identity theft?
DC: One of my early jobs when I was first out of undergrad was as a DJ. This was back in the late eighties, when the concepts of the “mash-up” and sampling were still in their infancy. But there was something about that concept that I really, really liked—the way the songs seemed to be having a conversation with one another, and by being combined actually transformed into something new. I’d like to think that there’s some of that going on here, too. Many of the “samples” are tucked into the imagery, like Easter eggs: for example, readers of Lovecraft’s At the Mountains of Madness and Poe’s Narrative of Arthur Gordon Pym will recognize those birds that are circling Miles in the Arctic, with their cry of “tekeli-li!”; people who have seen Takashi Miike’s movie, The Audition, will recognize that horrific piano wire in Chapter 2; people who have read Shirley Jackson’s The Haunting of Hill House will notice echoes of poor Eleanor Vance’s final thoughts… and—well, let’s just say that there are a few dozen of these throughout the book, which some people might enjoy finding themselves. But my intent wasn’t merely to create a bunch of cute in-jokes, either. To a larger extent, I was using these little touchstones to draw forth a particular texture and mood. For me, it was almost an invocation, a séance. That Ouija Board is in Jay’s house for a reason!
As a writer, I feel like I’m always in conversation with the books that I’ve read. Occasionally, an interviewer will ask: “Who are you writing for? Who is your audience?” And in many ways the answer is that I’m writing for those authors I’ve loved, and the books I’ve loved. If you’re an avid reader, and a book gets under your skin, it can affect you as intensely as a real human relationship, it lingers with you for your whole life, and there is always this desire to re-experience that amazing sense of connection you get from “your books.” I understand completely why people want to write fan fiction. To me, I guess, all fiction is fan fiction at a certain level, just as it always has an element of identity theft.
TM: Do you see your novel as a kind of Nabokovian puzzle, to be unwrapped and unlocked by discerning readers of the future? How far does the rabbit hole go?
DC: As much as I’m flattered by the term “Nabokovian,” I’m not sure that I’m capable of that level of gamesmanship. I’m sure that a literary critic could footnote the hell out of the book, but I suspect that a great number of the references she’d find here would be unintentional, or accidental, or drawn unconsciously from the cultural ether. A couple of years ago, I wrote the Afterward for the Signet Classic edition of Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, and one of the things that struck me, re-reading that novel for the first time in many years, was how much of my recollection of the book was simply wrong. Major scenes that I remembered vividly simply weren’t there in the text. In fact, as it turned out, my memory of Dr. Jekyll had been so radically infected by the enormous number of other representations that were floating around in the culture—movies and comics and parodies and so forth—that it was difficult to read the “real” version without filling in aspects from the version I’d imagined, the version that I’d pieced together out of a vast array of cultural detritus. None of which had existed when the actual book was written. I hope that something similar may happen to readers of Await Your Reply, and that in this way the “rabbit hole” goes on into Fibonacci-like infinity. I set out to draw on some of the archetypal plots that I had always found most compelling—the Bluebeard story, the evil twin story, the mythology of shapeshifters, legends of ghosts and haunted places and fruitless quests into the wastelands—all of which, of course, were viral memes for centuries before the internet existed. I suspect that the reader will be reminded of a whole set of references and touchstones as they read—but that their footnotes would be idiosyncratic, a kind of private, Kinbote-like appendix for each individual reader.
TM: This novel is ingeniously structured, with three narratives that eventually overlap and lock together. Part of the fun of reading it is figuring that puzzle out. How did you put together this little narrative machine? None of it feels accidental—but can that be?
DC: When I started out, I didn’t have any idea how the three threads were connected. I just knew that they were—somehow. The first hundred pages of the book took me about two years to write. I revised and revised, and fiddled around with the personalities of the characters, and added and deleted subplots and minor characters—basically trying to frame out the farmland that I was going to be working with, cutting brush and taking rocks out of the soil and so forth. The second hundred pages took about nine months. This was when I began to use cliff-hangers at the end of each chapter, leaving each thread with an unanswered question that I had to figure out, and that pushed things forward for me more quickly. At this point, I was showing the book chapter by chapter to my editor, Anika Streitfeld, and to my wife, the writer Sheila Schwartz. They would each give me a little feedback and I’d float various plot concepts—which Anika or Sheila or both of them would frequently, kindly, shoot down, or talk me through. The last hundred pages was written in a little less than two months, but it really wasn’t until the final few chapters that I truly had everything figured out. The last bit of plot clicked into place the way a difficult math problem sometimes does. Bing! Suddenly it seems so obvious! And I remember e-mailing Anika at about four in the morning. “Does this sound crazy???” I had to go back and do some adjustment and revision—but it was actually quite surprising to me to discover how much of the plot was already there, embedded in the narrative without my noticing. It didn’t actually require a lot of rewriting. My wife Sheila died of cancer not long after I’d finished the final revisions, and it’s both difficult and comforting now to look at this book, since there is so much of her in it, chapter by chapter: her advice and thoughts and spirit. She wrote in pencil on the last page of the last chapter: “You did it, honey!” But really we did it together.
TM: As Await Your Reply progresses, it hearkens more and more to an old-fashioned thriller or horror tale, with its level of suspense, its secrets and plot revelations, and its pervading sense of unease. This, for me, felt simultaneously like a departure and continuation from your earlier work, if that makes any sense. What say you?
DC: I’ve been deeply influenced by two strains of North American fiction: first, by the realistic regionalism of writers like Alice Munro, Raymond Carver, Sherwood Anderson, and so forth; and secondly, by writers of dark fantasy like Peter Straub, Shirley Jackson, and Ray Bradbury, etc. I’ve tended to be categorized more with the former group, the regional realists, but I think that you could make a good case to classify my work with the latter as well. My short story collection, Among the Missing, was strongly influenced by the tradition of ghostly and supernatural tales, and my first novel, You Remind Me of Me, was drawing very heavily from tales of psychological suspense and Kafkaesque otherworldliness—not intended to be straightforward melodrama, though I think it was often taken as such. I learned a lot about novel-writing from You Remind Me of Me—the effects that I wanted, and those that I didn’t—and I deliberately wanted to go back to the multiple narrative, round-robin style of storytelling, and see if I could build on what I had figured out. Around the time I was finishing You Remind Me of Me, I also happened to write a story for McSweeney’s Mammoth Treasury of Thrilling Tales, edited by Michael Chabon. Chabon’s project was to combine so-called literary writing with pulp and genre storytelling elements, and I was very much inspired by what he had to say. I felt like the story I wrote, “The Bees,” was a breakthrough for me, and I learned a lot from writers like Karen Joy Fowler, Kelly Link, George Saunders, Arthur Phillips, Kevin Brockmeier—and many others—who were doing interesting work with genre-bending. I have to say, though, that perhaps the biggest cultural influences on the novel were my teenaged sons, Philip and Paul, and the books and movies and TV shows that they loved and which permeated our household—Garth Nix’s Abhorsen trilogy of books, and Philip Pullman’s His Dark Materials, the TV show “Lost,” the films Fight Club and Eternal Sunshine of the Spotless Mind, all the various good, smart stuff which one or both of my kids were obsessed with…
TM: In a 2004 interview with Poets and Writers Magazine, you remarked: “I’ve written stories since I was a little kid. To me there’s something compelling about being a different person for a little while and trying out a different kind of life.” I couldn’t help but read Await Your Reply as partly a meditation on fiction writing and reading. In the book, when Ryan muses that identities are like shells that “you stepped into and that began to solidify over time… They began to take on a life of their own, developed substance,” I thought of my own creative process of inhabiting characters. And Ryan’s sadness after retiring an identity articulated so well that peculiar grief of finishing a manuscript, or a beloved book. Were these nods to the writing and reading life intentional? Furthermore, do you think fiction writing is somewhat criminal—is it a weird invasion of privacy, this theft and composite of various real lives? Do readers understand best the lure of identity theft, the chance to live another’s life for a while? And, when you spend a large part of your time making up stories and reading made up stories, where does real life begin and end? What makes some human beings real, and some fictional?
DC: Gee, Edan. You articulate things so well here that I barely have to answer! Yes to all of these. I think that as a teacher of creative writing, it’s inevitable that you think a lot about the creative process, and that you spend a lot of time trying to articulate how it works and why it is important, especially in a world that students face in which this kind of thinking isn’t taken seriously, when it’s seen as frivolous—or worse. One of the things that I talk about frequently with my students is the act of empathy—the act of trying to imagine yourself in the position of someone else—and the way this can be scary, and transgressive, and even dangerous. One of my assignments in my fiction class is to ask students to write from the point of view of someone radically different from themselves—to speak in the voice of a different gender or ethnicity or class, to try to think as far outside themselves as they can go, to try to inhabit that person—and for many of my students this feels perilous, even morally problematic.
I remember one time we had a discussion in class about a sensational news story. An insane woman had kidnapped a pregnant mother, and had killed the mother and performed a c-section and claimed the baby as her own. A truly horrifying tale. And we had been talking about it in class, and I asked: which character would you choose if you were writing a story? The pregnant mother or the insane woman who took the baby? At that point, a young woman spoke up, a sophomore. “My God!” she said. “The ghost of that dead woman is probably spitting on us as we sit here talking about this!” I think that was you, Edan, who was so appalled. I remember that it gave me pause: At what point does imagining, does the attempt to inhabit, become wrong? At what point does it become morally repugnant? I still think: never. But I understand that it’s fraught, that it’s compromised, that it’s suspect. That it’s an invasion that borders on—or crosses over into—the criminal. During the writing of this book, I followed the exploits of a number of trolls who used invented personas to invade and then (often hilariously) disrupt various solemn internet message boards. I read about a depressed teen who was goaded into suicide by a cruel classmate’s mother who was pretending to be the poor girl’s “boyfriend” on MySpace. I myself set up a dummy email address and briefly tried out various fake personas to see what would happen.
Where does real life begin and end? What makes some human beings real, and some fictional? I don’t know the answer. For better or worse, the answers to these questions seem to be changing all the time, and maybe there is no true answer.
TM: There’s an incredibly eerie and memorable second-person chapter at the end of Part One, where the narrator describes “your” identity being stolen, which, “Isn’t necessarily you, of course…you are aware of your life as a continuous thread, a dependable unfolding story of yourself that you are telling yourself.” This chapter has the great power of planting paranoia in the reader’s mind, and forces her to question her own identity and notions of self. As I kept reading, though, I found myself feeling paranoid about everything in the book—pretty soon I couldn’t trust anyone! Um, Dan? How in the hell did you do this?
DC: This chapter emerged from a late night free-write, which wasn’t originally intended to be anything but a journal entry. I was at a point when I needed to try to explain to myself what the book was about, and this was one of the few chapters (the final chapter, Chapter 26, is the other) which came out in one draft, with very little revision. It felt like an inner voice that was speaking to me—a very eerie feeling for me as well.
TM: About the aforementioned chapter: why the second person? It’s interesting, because while it’s about identity theft, it’s not taking away my identity, but, rather, giving me a different one. In the text, I’m pulling off a snowy interstate—“And you wipe off the snow in your hair”—when in fact this reader lives in Los Angeles! What went into this particular narrative choice?
DC: The narrative movement of this chapter was weird for me. Originally, the narrator felt like me, Dan Chaon, the author—but then it moved into a more chilly and abstract omniscience, as if a little spark of myself had disconnected and was free-floating through the world, out-of-the-body travel, and then I found myself hovering over a stranger and entering into his consciousness. Becoming part of the scene, and taking on his life story and personality. I realize now that I was trying to model the process of transference—to describe in shorthand the way imaginative empathy works. “You” are not in Los Angeles any longer. You have become that melancholy middle-aged guy pumping gas in upstate New York.
There is a poem by my friend Liz Rosenberg called “The Accident,” which I think about a lot. In the poem, a woman who is driving down the interstate observes the death of a motorcyclist from a distance, and there is an incredibly beautiful use of second person that I have always admired. “You are still you, but changing fast,” says the narrator of Liz Rosenberg’s poem, and she is both talking to the dying motorcycle guy and to herself.
TM: Has teaching at Oberlin influenced you as a writer? How do you manage to give students a sense of artistic freedom, while also offering them straightforward advice on technique and form?
DC: I love teaching, and I particularly like that moment when a student begins to discover the subject matter and voice that makes them unique. That’s a real high for me and it’s what keeps me coming back, semester after semester. It’s such a pleasure to be around people who care passionately about books and writing and who have singular perspectives about the world, which is what I find almost across the board with Oberlin students. I do find that I learn a lot from students, too. The thing about teaching fiction is that there isn’t one answer to a problem—there’s no rulebook or easy fix. I learn a lot about my own process from helping students find solutions to the various issues that emerge when you’re working through a draft. Not to get all new-agey, but there’s a lot of good energy that comes out of it.
TM: Have you noticed any popular themes or concepts in this current era of undergraduate writers?
DC: I notice a lot more post-apocalyptic scenarios these days, and I’m aware that as a generation this new group is pretty scared and pessimistic about the future they’re being left with. In general, there’s less interest in straightforward realism than there used to be. It remains very difficult to get anyone under 21 interested in Alice Munro or William Trevor, but I guess that’s as it should be. It’s hard, at my students’ age, to be sympathetic with the very middle-aged concerns of those two greats. All in good time, right?
TM: Because this is a book site, and because I know for a fact that you are a voracious, insane reader, I must ask you: What was the last great book you read?
DC: Lies Will Take You Somewhere, by my wife, Sheila Schwartz—and not just because we were married, either. I learned nearly everything I know about writing from her, and it’s a flat-out brilliant book: dark, funny, and strange in all the right ways.
When I was in high school, I was quite enthralled by Edgar Allan Poe. I’d been familiar with his most famous stories from a young age (I remember being particularly haunted by “The Cask of Amontillado”), but in high school I had the opportunity, poked and prodded by teachers, to delve deeper into some of the lesser known (or perhaps just less famous) stories, as well as his essays. The assigned reading begat extracurricular reading, as it sometimes did for me, and in looking for more Poe, I came across the one novel he ever wrote, an appropriately peculiar book, The Narrative of Arthur Gordon Pym of Nantucket. It turned out to be a bizarre maritime tale rich with allegory and supernatural elements, not to mention cannibalism and geographic oddities (with particular attention paid to the mysterious Antarctica).It’s one of those books that stuck with me even though I don’t remember all that much about it, but I hadn’t thought about it for a while until Mrs. Millions asked me the other day if I’d ever heard of it. As it turns out, this is the book that Paul Theroux reads to Jorge Luis Borges in The Old Patagonian Express (as Mrs. Millions mentioned in writing about the book this week.)This juxtaposition led me to read up on the book at Wikipedia and elsewhere. I came away with a few nuggets: for example, I discovered that Jules Verne – in a fan fiction sort of turn – wrote a sequel to Pym called An Antarctic Mystery. Pym also inspired writers like H.P. Lovecraft, who drew from it in his book At the Mountains of Madness, Yann Martel, for his Booker-winning Life of Pi, and Rudy Rucker for The Hollow Earth. It also turns out that Borges once called Pym “Poe’s greatest work.” I think my copy is still tucked away at my parents house somewhere, so I’ll have to dig it up at some point. In the meantime, the full text of the book is available online.