The Novel: An Alternative History, 1600-1800

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Ten Ways to Look at the Color Black

1.One of the most poignant of all passages in English literature occurs in The Life and Opinions of Tristram Shandy, Gentleman, serially published between the years of 1759 and 1767, when its author Laurence Sterne wrote: “████████████████████████████████████ ██████████████████████████████████████████████████████████████████████████████████████” Such is the melancholic shade of the 73rd page of Tristram Shandy, the entirety of the paper taken up with black ink, when the very book itself mourns the death of an innocent but witty parson with the Shakespearean name Yorick. Said black page appears after Yorick went to his doors and “closed them, – and never opened them more,” for it was that “he died… as was generally thought, quite broken hearted.”

Tristam Shandy is more than just an account of its titular character, for as Steven Moore explains in The Novel: An Alternative History 1600-1800, the English writer engaged subjects including “pedantry, pedagogy, language, sex, writing, obsessions… obstetrics, warfare and fortifications, time and memory, birth and death, religion, philosophy, the law, politics, solipsism, habits, chance… sash-windows, chambermaids, maypoles, buttonholes,” ultimately concluding that it would be “simpler to list what it isn’t about.” Sterne’s novel is the sort that spends a substantial portion of its endlessly digressive plot with the narrator describing his own conception and birth. As Tristam says of his story, “Digressions, incontestably, are the sunshine; – & they are the life, the soul of reading; – take them out of this book for instance, – you might as well take the book along with them.”

Eighteenth-century critics didn’t always go in for this sort of thing. Dr. Johnson, with poor prescience, said “Nothing odd will do long. Tristam Shandy did not last,” while Voltaire gave it a rather more generous appraisal, calling it “a very unaccountable book; an original.” Common readers were a bit more adventuresome; Moore records that the “sheer novelty of the first two volumes made Tristam Shandy a hit when they were reprinted in London in the early 1760s.” Sterne arguably produced the first “post-modern” novel, long before Thomas Pynchon’s Gravity’s Rainbow or David Foster Wallace’s Infinite Jest. Central to Tristam Shandy are its typographical eccentricities, which Michael Schmidt in The Novel: A Biography describes: “mock-marbling of the paper, the pointing hands, the expressive asterisks, squiggles, dingbats…the varying lengths of dashes.” None of those are as famous as poor Yorick’s pitch-black page, however.

It’s easy to see Sterne’s black page, its rectangle of darkness, as an oddity, an affectation, an eccentricity, a gimmick. This is woefully inconsiderate to English language’s greatest passage about the blankness of grief. Sober critics have a tendency to mistake playfulness with lack of seriousness, but a reading of Tristram Shandy shows that for all of its strangeness, its scatological prose and its metafictional tricks, Sterne’s goal was always to chart the “mechanism and menstruations in the brain,” as he explained, to describe “what passes in a man’s mind.”

Which is why Tristram Shandy’s infamous black page represents grief more truthfully than the millions of pages that use ink in a more conventional way. Sterne’s prose, or rather the gaping dark absence where prose normally would be, is the closest that he can get to genuinely conveying what loss’s void feels like. What’s clear is that no “reading” or “interpretation” of Yorick’s extinction can actually be proffered, no analysis of any human’s death can be translated into something rationally approachable. Sterne reminds us that grief is not amenable to literary criticism.  For anyone that has ever lost someone they loved, seen that person die, you can understand that there is an inability for mere words to be commensurate with the enormity of that absence. Concerning such emotions beyond emotions, when it comes to “meaning,” the most full and accurate portrayal can only ever be a black hole.

2.Black is the most parsimonious of all colors. Color is a question of what it is we’re seeing when contrasted with that which we can’t, and black is the null zero of the latter. Those Manichean symbolic associations that we have with black and white are culturally relative—they are contingent on the arbitrary associations that a people project onto colors.  Yet true to the ballet of binary oppositions, they are intractably related, for one could never read black ink on black paper, or its converse. If with feigned synesthesia we could imagine what each color would sound like, I’d suspect that they’d either be all piercing intensity and high pitches, or perhaps low, barely-heard thrum—but I’m unsure which would be which.

Their extremity is what haunts, allowing either only absorption or only
reflection, the two colors reject the russet cool of October and the blue chill
of December, or the May warmth of yellow and the July heat of red. Black and
white are both voids, both absences, both spouses in an absolutism. They are
singularities. Hardly anything is ever truly black, even the night sky awash in
the electromagnetic radiation of all those distant suns. Black and white are
abstractions, they are imagined mathematical potentials, for even the darkest
of shades must by necessity reflect something back. Save for one
thing—the black hole.

As early as 1796 the Frenchman Pierre-Simon Laplace conjectured the existence of objects with a gravitational field so strong that not even light could escape. Laplace, when asked of God, famously told Napoleon that he “had no need for that hypothesis,” but he knew of the black hole’s rapacious hunger. It wouldn’t be until 1916 that another scientist, the German Karl Schwarzschild, would use Albert Einstein’s general theory of relativity to surmise the existence of the modern black hole. Physicist Brian Greene explains in The Elegant Universe that Schwarzschild’s calculations implied objects whose “resulting space-time warp is so radical that anything, including light, that gets too close… will be unable to escape its gravitational grip.”

Black holes were first invented as a bit of mathematical book-keeping, a theoretical concept to keep God’s ledger in order. However, as Charles Seife writes in Alpha and Omega: The Search for the Beginning and End of the Universe, though a “black hole is practically invisible, astronomers can infer its presence from the artifacts it has on spacetime itself.” Formed from the tremendous power of a supernova, a blackhole is a lacuna in space and time, the inky corpse of what was once a star, and an impenetrable passage from which no traveler may return.

A black hole is the simplest object in the universe. Even a hydrogen atom is composed of a proton and an electron, but a black hole is simply a singularity and an event horizon. The former is the infinitely dense core of a dead star, the ineffable heart of the darkest thing in existence, and the latter marks the point of no return for any wayward pilgrim. It’s at the singularity itself where the very presuppositions of physics breakdown, where our mathematics tells us that reality has no strictures. Though a black hole may be explained by physics, it’s also paradoxically a negation of physics. Obvious why the black hole would become such a potent metaphor, for physics has surmised the existence of locations for which logic has no dominion. A cosmological incognito if you will, where there be monsters.

God may not play dice with the universe, but as it turns out She is ironic. Stephen Hawking figured that the potent stew of virtual particles predicted by quantum mechanics, general relativity’s great rival in explaining things, meant that at the event horizon of a black hole there would be a slight escape of radiation, as implied by Werner Heisenberg’s infamous uncertainty principle. And so, from Hawking, we learn that though black may be black, nothing is ever totally just that, not even a black hole. Save maybe for death.

3.“Black hole” is the rare physics term that is evocative enough to attract public attention, especially compared to the previous phrase for the concept, “gravitationally collapsed object.” Coined by physicist Robert H. Dicke in the early ’60s, he appropriated it from the infamous dungeon in colonial India that held British prisoners and was known as the “Black Hole of Calcutta.” In Dicke’s mind, that hot, fetid, stinking, torturous hell-hole from which few men could emerge was an apt metaphor for the cosmological singularity that acts as a physical manifestation of Dante’s warning in Inferno to “Abandon hope all ye who enter here.”

Dante was a poet, and the word “black hole” is a metaphor, but it’s important to remember that pain and loss go beyond language, they are not abstractions, but very real. That particular Calcutta hole was in actuality an 18-foot by 14-foot cell in the ruins of Ft. William that held 69 Indian and British soldiers upon the fall of that garrison in 1756, when it was taken by the Nawab of Bengal. According to a survivor of the imprisonment, John Zephaniah Howell, the soldiers “raved, fought, prayed, blasphemed, and many then fell exhausted on the floor, where suffocation put an end to their torments.” On the first night 46 of the men died.

What that enclosure in Calcutta signified was its own singularity, where meaning itself had no meaning. In such a context the absence of color becomes indicative of erasure and negation, such darkness signaling nothing. As Lear echoes Parmenides, “Nothing can come of nothing: speak again.” There have been many black holes, on all continents, in all epochs. During the 18th century the slave ships of the Middle Passage were their own hell, where little light was allowed to escape.

In Marcus Redicker’s The Slave Ship: A Human History, the scholar speaks of the “horror-filled lower deck,” a hell of “hot, crowded, miserable circumstances.” A rare contemporary account of the Middle Passage is found in the enslaved Nigerian Olaudah Equiano’s 1789 The Interesting Narrative of Olaudah Equiano, Or Gustavus Vassa, The African. Penned the year that French Jacobins stormed the Bastille, Equiano’s account is one of the rare voices of the slave ship to have been recorded and survived, an account of one who has been to a hell that they did not deserve and who yet returned to tell tale of that darkness. Equiano described being “put down under the decks” where he “received such a salutation in my nostrils as I had never experience in my life: so that, with the loathsomeness of the stench, and crying together, I became so sick and low that I was not able to eat…I now wished for the last friend, death.”

There’s a risk in using any language, any metaphor, to describe the singularities of suffering endured by humans in such places, a tendency to turn the lives of actual people into fodder for theorizing and abstraction. Philosopher Elaine Scary in The Body in Pain: The Making and Unmaking of the World argues that much is at “stake in the attempt to invent linguistic structures that will reach and accommodate this area of experience normally so inaccessible to language… a project laden with practical and ethical consequence.” Any attempt to constrain such experience in language, especially if it’s not the author’s experience, runs a risk of limiting those stories. “Black hole” is an affective metaphor to an extent, in that implicit within it is the idea of logic and language breaking down, and yet it’s all the more important to realize that it is ultimately still a metaphor as well, what the Soviet dissident Aleksandr Solzhenitsyn in The Gulag Archipelago described as “the dark infinity.”

David King in The Commissar Vanishes: The Falsification of Photographs and Art in Stalin’s Russia provides a chilling warning about what happens when humans are reduced to such metaphor, when they are erased. King writes that that the “physical eradication of Stalin’s political opponents at the hands of the secret police was swiftly followed by their obliteration from all forms of pictorial existence.” What’s most disturbing are the primitively doctored photographs, where being able to see the alteration is the very point. These are illusions that don’t exist to trick, but to warn; their purpose is not to make you forget, but rather the opposite, to remind you of those whom you are never to speak of again. Examine the Damnatio memoriae of Akmal Ikramov, first secretary of the Communist Party of Uzbekistan, who was condemned by Stalin and shot. In the archives his portrait was slathered in black paint. The task of memory is to never forget that underneath that mask there was a real face, that Ikramov’s eyes looked out as yours do now.

4.Even if the favored color of the Bolsheviks was red, black has also had its defenders in partisan fashion across the political spectrum, from the Anarchist flag of the left to the black-shirts of Benito Mussolini’s fascist right and the Hugo Boss-designed uniforms of the Nazi SS. Drawing on those halcyon days of the Paris Commune in 1871, anarchist Louis Michel first flew the black flag at a protest. His implications were clear—if a white flag meant surrender, then a black flag meant its opposite. For all who wear the color black certain connotations, sometimes divergent, can be potentially called upon; including authority, judiciousness, piety, purity, and power. Also, black makes you look thinner.

Recently departed fashion designer, creative director for the House of Chanel, and noted Teutonic vampire Karl Lagerfeld once told a Harper’s Baazar reporter that “Black, like white, is the best color,” and I see no reason to dispute that. Famous for his slicked-back powdered white pony-tail, his completely black suits, starched white detachable collars, black sunglasses, and leather riding gloves, Lagerfeld is part of a long tradition of that fabled French design firm. Coco Chanel, as quoted in The Allure of Chanel by Paul Morand and Euan Cameron, explains that “All those gaudy, resuscitated colors shocked me; those reds, those greens, those electric blues.” Chanel explains rather that she “imposed black; it’s still going strong today.”

Black may be the favored monochromatic palette for a certain school of haute couture; think black tie affairs and little black cocktail dresses—but the look is too good to be left to the elite. Black is the color of bohemians, spartan simplicity as a rebellion against square society. Beats were associated with it, they of stereotypical turtlenecks and thick-framed glasses. It’s always been a color for the avant-garde, signifying a certain austere rejection of the superficial cheerfulness of everyday life. Beats like Allen Ginsberg in his epic poem Howl, with its memorable black cover from City Lights Books, may have dragged himself through the streets at dawn burning for that “ancient heavenly connection to the starry dynamo,” but his friend William S. Burroughs would survey the fashion choices of his black-clad brethren and declare that the Beats were the “movement which launched a million Gaps.”

Appropriated or not, black has always been the color of the outlaw, a venerable genealogy that includes everything from Marlon Brando’s leather jacket in The Wild One to Keanu Reeves’s duster in The Matrix. Fashionable villains too, from Dracula to Darth Vader. That black is the color of rock music, on its wide highway to hell, is a given. There is no imagining goth music without black’s macabre associations, no paying attention to a Marilyn Manson wearing khaki, or the Cure embracing teal. No, black is the color of my true love’s band, for there’s no Alice Cooper, Ozzy Osbourne, or the members of Bauhaus in anything but a monochromatic darkness. When Elvis Presley launched his ’68 comeback he opted for a skin-tight black leather jumpsuit.

Nobody surpasses Johnny Cash though. The country musician is inextricably bound to the color, wearing it as a non-negotiable uniform that expressed radical politics. He sings “I wear the black for the poor and the beaten down, /Livin’ in the hopeless, hungry side of town.” Confessing that he’d “love to wear a rainbow every day,” he swears allegiance to his millennial commitments, promising that he’ll “carry off a little darkness on my back, /’Till things are brighter, I’m the Man in Black.” Elaborating later in Cash: The Autobiography, cowritten with Patrick Carr, he says “I don’t see much reason to change my position today…There’s still plenty of darkness to carry off.”

Cash’s sartorial choices were informed by a Baptist upbringing; his clothes mourned a fallen world, it was the wardrobe of a preacher. Something similar motivates the clothing of a very different prophetic figure, the pragmatist philosopher Cornel West, who famously only wears a black three-piece suit, with matching scarf. In an interview with The New York Times, West calls the suit his “cemetery clothes,” with a preacher’s knowledge that one should never ask for whom the bell tolls, but also with the understanding that in America, the horrifying reality is that a black man may always need to be prepared for his own funeral when up against an unjust state. As he explained, “I am coffin-ready.” West uses his black suit, “my armor” as he calls it, as a fortification.

Black is a liturgical, sacred, divine color. It’s not a mistake that Cash
and West draw from the somber hue of the minister’s attire. Black has often
been associated with orders and clerics; the Benedictines with their black
robes and Roman collared Jesuits; Puritans and austere Quakers, all unified in
little but clothing. Sects as divergent as Hasidic Jews and the Amish are known
for their black hats. In realms of faith, black may as well be its own temple.

5.Deep in the Finsterwalde, the “Dark Forest” of northwestern Switzerland, not far from Zurich, there is a hermitage whose origins go back to the ninth century. Maintained by Benedictine monks, the monastery was founded by St. Meinard. The saint lived his life committed to solitude, to dwelling in the space between words that can stretch to an infinity, a black space that still radiates its own light. In his vocation as a hermit, where he would find the monastery known (and still known) as the Einsiedeln Abbey, he had a single companion gifted to him by the Abbes Hildegard of Zurich—a carved, wooden statue of the Virgin Mary holding the infant Christ, who was himself clutching a small bird as if it was his play companion.

For more than a millennium, that figure, known as the “Lady of Einsiden,” has been visited by millions of pilgrims, as the humble anchorage has grown into a complex of ornate, gilded baroque buildings. These seekers are drawn to her gentle countenance, an eerie verisimilitude projecting some kind of interiority within her walnut head. She has survived both the degradations of entropy and Reformation, and is still a conduit for those who travel to witness that material evidence of that silent world beyond. Our Lady of Einsiden is only a few feet tall; her clothing is variable, sometimes wearing the celestial, cosmic blue of the Virgin, other times in resplendent gold, but the crown of heaven is always upon her brow. One aspect of her remains unchanging, however, and that’s that both her and Christ are painted black.

In 1799, during a restoration of the monastery, it was argued, in the words of one of the workers, that the Virgin’s “color is not attributable to a painter.” Deciding that a dose of revisionism was needed alongside restoration, the conclusion of restorer Johann Adam Fuetscher was that the Mary’s black skin was the result of the “smoke of the lights of the hanging lamps which for so many centuries always burned in the Holy Chapel of Einsideln.”

Fuetscher decided to repaint the statue, but when visitors saw the new Virgin they were outraged, and demanded she be returned to her original color, which has remained her hue for more than 200 years. Our Lady of Einsideln was not alone; depictions of Mary with dark skin can be found the width and breadth of the continent, from the famed Black Madonna of Czestochowa in Poland to Our Lady of Dublin in the Whitefriar Street Carmelite Church; in the Sicilian town of Tindari, to the frigid environs of Lunds Domkyrka Lund Cathedral in Sweden. Depending on how one identifies the statues, there are arguably 500 medieval examples of the Virgin Mary depicted with dark skin.

Recently art historians have admitted that the hundreds of Black Madonnas are probably intentionally so, but there is still debate as to why she is so often that color. One possibility is that the statues are an attempt at realism, that European artists saw no compunctions about rendering the Virgin and Christ with an accurate skin-tone for Jews living in the Levant. Perhaps basing such renderings upon the accounts of pilgrims and crusaders who’d returned from the Holy Land, these craftsmen depicted the Mother of God with a face that wasn’t necessarily a mirror of their own.

Scholar Lucia Chiavola Birnbaum has her own interpretation of these carvings in her study Black Madonnas: Feminism, Religion, and Politics in Italy. For Birnbaum, the statues may represent a multicultural awareness among those who made them, but they also have a deep archetypal significance. She writes that “Black is the color of the earth and of the ancient color of regeneration, a matter of perception, imagination, and beliefs often not conscious, a phenomenon suggested in people’s continuing to call a madonna black even after the image had been whitened by the church.”

China Galland in Longing for Darkness: Tara and the Black Madonna, her account of global pilgrimage from California to Nepal, asks if there was in the “blackness of the Virgin a thread of connection to Tara, Kali, or Durga, or was its mere coincidence?”  These are goddesses, which as Galland writes, have a blackness that is “almost luminous,” beings of a “beneficent and redeeming dark.” Whatever the motivations of those who made the statues, it’s clear that they intended to depict them exactly as they appear now, candle smoke and incense besides. At the il Santuario della Madonna del Tindari in Sicily there is a celebrated Virgin Mary with dark skin. And just to dispel any hypothesis that her color is an accident, restorers in 1990 found inscribed upon her base a quotation from Song of Songs 1:5, when the Queen of Sheba declares to Solomon: “I am black but beautiful.”

6.Very different deities of darkness would come to adorn the walls of the suburban Madrid house that the Spanish painter Francisco Goya moved to 200 years ago, in the dusk of the Napoleonic conflicts (when Laplace had dismissed God). Already an old man, and deaf for decades, Goya would affix murals in thick, black oil to the plaster walls of his villa, a collection intended for an audience of one. As his biographer Robert Hughes would note in Goya, the so-called black paintings “revealed an aspect of Goya even more extreme, bizarre, and imposing” than the violent depictions of the Peninsular War for which he was famous. The black paintings were made for Goya’s eyes only. He was a man who’d witnessed the barbarity of war and inquisition, and now in his convalescence he chose to make representations of witches’ sabbaths and goat-headed Baphomet overseeing a Black Mass, of Judith in the seconds after she decapitated Holofernes, and of twisted, toothless, grinning old men. And, though now it hangs in the Museo del Prado, it was painted originally on the back wall of the first story of the Quinta del Sordo next to one window and perpendicular to another, was his terrifying depiction of a fearsome Saturn devouring his own young.

In the hands of Goya, the myth of the Titan who cannibalized his progeny is
rendered in stark, literal, horrifying reality. For Goya there is no forgetting
the implications of what that story implies, his Chronos appears as shaggy,
wild-eyed, orangish monstrosity; matted, bestial white hair falls uncombed from
his head, and past his scrawny shoulders. Saturn is angular, jutting bones and
knobby kneecaps, as if hunger has forced him to this unthinkable act. His eyes
are wide, and though wild, they’re somehow scared, dwelling in the darkness of
fear.

I wonder if that’s part of Goya’s intent, using this pagan theme to express something of Catholic guilt and death-obsession, that intuitive awareness of original sin. It makes sense to me that Saturn is the scared one; scared of what he’s capable of, scared of what he’s done. Clutching in both hands the dismembered body of a son, whose features and size are recognizably human, Chronos grips his child like a hoagie, his son’s right arm already devoured and his head in Saturn’s stomach, with the Titan biting directly into the final remaining hand. Appropriately enough for what is, after all, an act of deicide, the sacrificed god hangs in a cruciform position. A fringe of blood spills out from inside. His corpse has a pink flush to it, like a medium rare hamburger. That’s the horror of Chronos—of time—emerging from this undifferentiated darkness. When considering our final hour, time has a way of rendering the abstraction of a body into the literalism of meat. Saturn Devouring His Son hung in Goya’s dining room.

His later paintings may be the most striking evocation of blackness, but the
shade haunted Goya his entire life. His print The Sleep of Reason Produces
Monsters, made two decades before those murals in the Quinta del
Sordo, is a cross-hatched study of the somber tones, of black and grey.
Goya draws himself, head down on a desk containing the artist’s implements, and
above him fly the specters of his nocturnal imagination, bats and owls flapping
their wings in the ceaseless drone that is the soundtrack of our subconscious
irrationalities, of the blackness that defines that minor form of extinction we
call sleep.

7.The blackness of sleep both promises and threatens erasure. In that strange state of non-being there is an intimation of what it could mean to be dead. Telling that darkness is the most applicable metaphor when describing both death and sleep, for the bed or the coffin. Sigmund Freud famously said of his subject in The Interpretation of Dreams that they were the “royal road to the unconscious.” Even the laws of time and space seem voided within that nocturnal kingdom, where friends long dead come to speak with us, where hidden rooms are discovered in the dark confines of homes we’ve known our entire lives. Dreams are a singularity of sorts, but there is that more restful slumber that’s nothing but a calm blackness.

This reciprocal comparison between sleep and death is such a cliché precisely because it’s so obvious, from the configuration of our actual physical repose to our imagining of what the experiences might share with one another. Edmund Spenser in the Faerie Queene writing “For next to Death is Sleepe to be compared;” his contemporary the poet Thomas Sackville referring to sleep as the “Cousin of Death;” the immaculate Thomas Browne writing that sleep is the “Brother of Death;” and more than a century later Percy Shelley waxing “How wonderful is Death, Death and his brother Sleep!”

Without focusing too much on how the two have moved closer to one another on the family tree, what seems to unify tenor and vehicle in the metaphorical comparisons between sleep and death is this quality of blackness, non-existence of color the same as non-existence. Both imply a certain radical freedom, for in dreams everyone has an independence, at least for a few hours. Consider that in our own society, where our totalizing system is the consumerism which controls our every waking moment, that the only place where you won’t see anything designed by humans (other than yourself) is in dreams, at least until Amazon finds a way to beam advertisements directly into our skulls.

Then there is Shakespeare, who speaks of sleep as the “ape of death,” who in Hamlet’s monologue writes of the “sleep of death,” and in the Scottish play calls sleep “death’s counterfeit.” If centuries have a general disposition, then my beloved 17th century was a golden age of morbidity when the ars Moriendi of the “good death” was celebrated by essayists like Browne and Robert Burton in the magisterial Anatomy of Melancholy. In my own reading and writing there are few essayists whom I love more, or try to emulate more, than the good Dr. Browne. That under-read writer and physician, he who both coined the terms “literary” and “medical,” among much else besides, wrote one of the most moving and wondrous tracts about faith and skepticism in his 1642 Religio Medici. Browne writes “Sleep is a death, /O make me try, /By sleeping, what it is to die:/And as gently lay my head/On my grave, as now my bed.” Maybe it resonates with me because when I was (mostly) younger, I’d sometimes lay on my back and pretend that I was in my coffin. I still can only sleep in pitch blackness.

8.Far easier to imagine that upon death you go someplace not unlike here, in either direction, or into the life of some future person yet unborn. Far harder to imagine non-existence, that state of being nothing, so that the most accessible way that it can be envisioned is as a field of black, as being the view when you close your eyes. That’s simply blackness as a metaphor, another inexact and thus incorrect portrayal of something fundamentally unknowable. In trying to conceive of non-existence, blackness is all that’s accessible, and yet it’s a blackness where the very power of metaphor ceases to make sense, where language itself breaks down as if it were the laws of physics at the dark heart of the singularity.

In the Talmud, at Brachot 57b, the sages tell us that “Sleep is 1/60th of death,” and this equation has always struck me as just about right. It begs certain questions though: is the sleep that is 1/60th of death those evenings when we have a pyrotechnic, psychedelic panoply of colors before us in the form of surrealistic dreams, or is it the sleep we have that is blacker than midnight, devoid of any being, of any semblance of our waking identities? This would seem to me to be the very point on which all questions of skepticism and faith must hang. That sleep, that strangest of activities, for which neurologists still have no clear answers as to its necessities (though we do know that it is), is a missive from the future grave, a seven-hour slice of death, seems obvious to me. So strange that we mock the “irrationalities” of ages past, when so instrumental to our own lives is something as otherworldly as sleep, when we die for a third of our day and return from realms of non-being to bore our friends with accounts of our dreams.

When we use the darkness of repose as metaphor for death, we brush against the extremity of naked reality and the limitations of our own language. In imagining non-existence as a field of undifferentiated black, we may trick ourselves into experiencing what it would be to no longer be here, but that’s a fallacy. Black is still a thing. Less than encouraging, this inability to conceive of that reality, which may be why deep down all of us, whether we’re to admit it or not, are pretty sure that we’ll never die, or at least not completely. And yet the blackness of non-existence disturbs, how couldn’t it? Epicurus wrote as an argument against fear of our own mortality that “Death… is nothing to us, seeing that, when we are, death is not come, and, when death is come, we are not.”

Maybe that’s a palliative to some people, but it’s never been to me. More of
sophistry than wisdom in the formulation, for it eludes the psychology of being
terrified at the thought of our own non-existence. Stoics and Epicureans have
sometimes asked why we’re afraid of the non-existence of death, since we’ve
already experienced the non-existence before we’re born? When I think back to
the years before 1984, I don’t have a sense of an undifferentiated blackness,
rather I have a sense of…. well…. nothing. That’s not exactly
consoling to me. Maybe this is the height of egocentricity, but hasn’t anyone
ever looked at photographs of your family from before you’re born, and felt a
bit of the uncanny about it? Asking for a friend.

In 1714, the German philosopher Gottfried Wilhelm Leibnitz asked in the Monadology “Why is there something rather than nothing,” and that remains the rub. For Martin Heidegger in the 20th century, that issue remained the “fundamental question of metaphysics.” I proffer no solution to it here, only to notice that when confronted with the enormity of non-existence, prudence forces us to admit the equivalently disturbing question of existence. Physicist Max Delbrück in Mind from Matter: An Essay on Evolutionary Epistemology quotes his colleague Niels Bohr, the father of quantum theory, as having once said that the “hallmark of any deep truth [is] that its negation is also a deep truth.” Certainly, the case with existence and non-existence, equally profound and equally disquieting. If we’re to apply colors to either, I can’t help but see oppositional white and black, with an ambiguity to which is which.

9.If there can be a standard picture of God, I suspect that for most people it is a variation on the bearded, old man in the sky trope, sort of a more avuncular version of Michelangelo’s rendering from the Sistine Chapel ceiling. Such is an embodied deity, of dimensions in length, breadth, and width, and also such is the Lord as defined through that modern heresy of literalism. The ancients were often more sophisticated than both our fundamentalists and our atheists (as connected as black and white). Older methods of speaking about something as intractable as God were too often pass over in silence, with an awareness that to limit God to mere existence was to limit too much.

In that silence there was the ever-heavy blossom of blackness, the all-encompassing field of darkness that contains every mystery to which there aren’t even any questions. Solzhenitsyn observed that “even blackness [can]… partake of the heavens.” Not even blackness, but especially blackness, for dark is the night. Theologians call this way of speaking about God “apophasis.” For those who embrace apophatic language, there is an acknowledgement that a clear definition of the divine is impossible, so that it is better to dwell in sacred, uncertainties. This experience of God can often be a blackness in itself, what St. John of the Cross spoke of in his 1577 Spanish poem “The Dark Night of the Soul.” Content with how an absence can often be more holy than an image, the saint emphasized that such a dark night is “lovelier than the dawn.” A profound equality in undifferentiated blackness, in that darkness where features, even of God, are obscured. Maybe the question of whether or not God is real is as nonsensical as those issues of non-existence and death; maybe the question itself doesn’t make any sense, understanding rather that God isn’t just black. God is blackness.

10. On an ivory wall within the National Gallery, in Andrew Mellon’s palace constructed within this gleaming white city, there is a painting made late in life by Mark Rothko entitled Black on Grey. Measuring some 80 inches by 69.1 inches, the canvas is much taller than the average man, and true to its informal title it is given over to only two colors—a dark black on top fading into a dusty lunar grey below. Few among Rothko’s contemporaries in his abstract expressionist circle, that movement that moved the capital of the art world from Paris to New York, had quite the sublimity of color as he did. Jackson Pollock certainly had the kinetic frenzy of the drip, Willem de Kooning the connection to something still figurative in his pastel swirl. But Rothko, he had a panoply of color, from his nuclear oranges and reds to those arctic blues and pacific greens, what he described to Selden Rodman in Conversations with Artists as a desire to express “basic human emotions—tragedy, ecstasy, doom.”

Black on Grey looks a bit like what I imagine it would be to survey the infinity of space from the emptiness of the moon’s surface. These paintings towards the end of the artist’s life, made before he committed suicide by barbiturate and razor blade in his East 69th Street studio, took an increasingly melancholic hue. Perhaps Rothko experienced what his friend the poet Frank O’Hara had written about as the “darkness I inhabit in the midst of sterile millions.” Rothko confirmed that his black paintings were, as with Goya, fundamentally about death.

In a coffee-table book, Rothko’s work can look like something from a paint
sample catalog. It does no justice compared to standing before the images
themselves, of what Rothko described as the phenomenon of how “people break
down and cry when confronted with my pictures.” For Rothko, such reactions were
a type of communion, these spectators were “having the same religious experience
I had when I painted them.” When you stand before Black on Grey, when
it’s taken out from the sterile confines of the art history book or the
reductions of digital reproduction, you’re confronted with a blackness that
dominates your vision, as seeing with your eyes closed, as experiencing death,
as standing in the empty Holy of Holies and seeing God.

With a giant field of black, the most elemental abstraction that could be
imagined, this Jewish mystic most fully practiced the stricture to not make any
graven image. He paradoxically arrived at the most accurate portrayal of God
ever committed to paint. For all of their oppositions, both Infinity and
Nothing become identical, being the same shade of deep and beautiful black, so
that any differences between them are rendered moot.

Image credit: Unsplash/David Jorre.

Most Anticipated: The Great Second-Half 2013 Book Preview

The first half of 2013 delighted us with new books by the likes of George Saunders, Karen Russell, and Colum McCann, among many others. And if the last six months had many delights on offer for book lovers, the second half of the year can only be described as an invitation to gluttony. In the next six months, you’ll see new books by Jhumpa Lahiri, Margaret Atwood, Donna Tartt, Marisha Pessl, Norman Rush, Jonathan Lethem, and none other than Thomas Pynchon. And beyond those headliners there are many other tantalizing titles in the wings, including some from overseas and others from intriguing newcomers.

The list that follows isn’t exhaustive – no book preview could be – but, at 9,000 words strong and encompassing 86 titles, this is the only second-half 2013 book preview you will ever need. Scroll down and get started.

July:

Visitation Street by Ivy Pochoda: Crime writer Dennis Lehane chose Pochoda’s lyrical and atmospheric second novel for his eponymous imprint at Ecco/Harper, calling it “gritty and magical.”  Pitched as a literary thriller about the diverse inhabitants of Red Hook, Brooklyn, Visitation Street has already received starred reviews from Publisher’s Weekly, Kirkus Reviews, and Library Journal. Lionel Shriver says, “I loved it,” and Deborah Harkness calls it “marvelous.” (Edan)

 

Love, Dishonor, Marry, Die, Cherish, Perish by David Rakoff: Rakoff was the author of three books of essays, the winner of the Thurber Prize for American Humor, and a beloved regular on This American Life who died last year shortly after finishing this book. A novel written entirely in verse (a form in which he was masterful, as evidenced here), its characters range across the 20th century, each connected to the next by an act of generosity or cruelty. (Janet)

 

The Love Affairs of Nathaniel P. by Adelle Waldman: Waldman recently weighed in for us on the centuries-old Richardson vs. Fielding debate. Now, in her first novel, she expertly plays the former’s psychological penetration off the latter’s civic vision. The titular Nathaniel, one of Brooklyn’s sad young literary men, seeks to navigate between his public ambitions and his private compulsions in a series of romantic encounters. Those without 718 area codes shouldn’t let the milieu scare them off; questions of whether Nate can heed the difficult imperatives of the conscience—and of how Waldman will pull off a whole book from the man’s point of view—keep the pages turning, while generating volumes of quotable insight, in the manner of The Marriage Plot. (Garth)

Fin & Lady by Cathleen Schine: A country mouse moves to the city in Cathleen Schine’s ninth novel. The mouse is Fin, an orphaned eleven-year old boy, and the city is Greenwich Village in the 1960s. Under the guardianship of his glamorous half-sister, Lady, Fin gets to know both the city and his wild sister, and encounters situations that are a far cry from his Connecticut dairy farm upbringing. As with many of Schine’s previous novels, Fin & Lady explores changing definitions of family.  (Hannah)

 

My Education by Susan Choi: Reflect upon your sordid graduate school days with a novel of the perverse master-student relationship and adulterous sex triangle. Professor Brodeur is evidently the kind of man whose name is scrawled on restroom walls by vengeful English majors—rather than end up in the sack with him, Choi’s protagonist Regina instead starts up an affair with his wife.  Later in the novel and in time, Regina reflects on this period in her life and the changes wrought by the intervening 15 years.  Choi was a Pulitzer Prize finalist for her second novel, American Woman. (Lydia)

Five Star Billionaire by Tash Aw: The third novel from the winner of the 2005 Whitbread First Novel Award follows the lives and business ventures of five characters in Shanghai, each representing various—and at times dichotomous—social strata. There’s Phoebe, the poor and unsophisticated migrant worker from Malaysia; and there’s Yinghui, the rich and ambitious businesswoman. There’s Gary, the waylaid pop star; and there’s Justin, the scion of a wealthy real estate family. Lastly there’s Walter, the eponymous billionaire, who meddles behind the scenes with the lives of almost everybody. Altogether, their multi-layered, intersecting lives contribute to make “Shanghai itself [into] the book’s real main character,” writes Jill Baker in the Asian Review of Books. It’s a city “luring in people hoping for a second chance or … any chance at all.” (Nick)

Lotería by Mario Alberto Zambrano: It’s a rare first novel that can appeal to partisans of both S.E. Hinton and Julio Cortázar, but Lotería does just that. The story 11-year-old Luz Maria Castillo begins telling us from her room in a state institution is deceptively plainspoken: Here’s how I got here. But as the story proceeds in fragments, keyed not to chronology but to a deck of cards from Lotería (a kind of Mexican bingo), things get shiftier. Color reproductions of the cards introduce each chapter, making the book, if not exactly Kindle-proof, then at least uncommonly handsome. (Garth)

The Unknowns by Gabriel Roth: Gabriel Roth’s debut novel follows Eric Muller from his lonely high school days as a computer geek to his millionaire success in Silicon Valley as a computer geek. Slightly disoriented by his newfound abilities to make money and bed women, Muller wryly observes his life as if he is that same awkward teenager trapped in a dream life. When he falls in love with Maya, a beautiful woman with a mysterious past, he must choose between the desire to emotionally (and literally) hack into it, or to trust his good fortune. (Janet)

The Hare by César Aira: A recent bit of contrarianism in The New Republic blamed the exhaustive posthumous marketing of Roberto Bolaño for crowding other Latin American writers out of the U.S. marketplace. If anything, it seems to me, it’s the opposite: the success of The Savage Detectives helped publishers realize there was a market for Daniel Sada, Horacio Castellanos Moya, and the fascinating Argentine César Aira. The past few years have seen seven of Aira’s many novels translated into English. Some of them, like Ghosts, are transcendently good, but none has been a breakout hit. Maybe the reissue of The Hare, which appeared in the U.K. in 1998, will be it. At the very least, it’s the longest Aira to appear in English: a picaresque about a naturalist’s voyage into the Argentinean pampas. (Garth)

August:

Night Film by Marisha Pessl: Pessl’s first novel since Special Topics in Calamity Physics, her celebrated 2006 debut, concerns a David Lynchish filmmaker whose daughter has died in Lower Manhattan under suspicious circumstances. Soon, reporter Scott McGrath has launched an investigation that will take him to the heart of the auteur’s secretive empire: his cult following, his whacked-out body of work, and his near impenetrable upstate compound. With interpolated web pages and documents and Vanity Fair articles, the novel’s a hot pop mess, but in the special way of a latter-day Kanye West album or a movie co-directed by Charlie Kaufman and Michael Bay, and the climax alone—a 65-page haunted-house tour-de-force—is worth the price of admission. (Garth)

Cannonball by Joseph McElroy: McElroy was writing the lights out in the ‘70s and early ‘80s, and in the last few years has been rediscovered by a younger generation of readers, who justly class him with Thomas Pynchon—a writer of a wildly different sensibility, but a similar, world-devouring ambition. Hell, he even did a Year in Reading. If 2011’s Night Soul is any indication, McElroy’s can still intrigue, baffle, and stop the heart, often all at once. This, his first novel in many a moon, concerns the Iraq War, among other things, and it’s hard to think of an author more suited to reimagining the subject. (Garth)

Claire of the Sea Light by Edwidge Danticat: The author of a string of heartbreaking novels about the strife-torn Caribbean nation of Haiti, including The Farming of Bones and The Dew Breaker, Danticat here tells the story of a young motherless girl whose poverty-stricken father considers giving her away a wealthier family. Hailed by Publishers Weekly as “magical as a folk tale and as effective and devastating as a newsreel,” the novel paints a stark portrait of village life in Haiti. (Michael)

 

Remember How I Told You I Loved You?  by Gillian Linden: Gillian Linden’s debut collection of linked stories follows a young woman through college, careers, love affairs and marriages— “from delayed adolescence to (delayed) adulthood.” The publisher, Little A (Amazon’s new literary fiction imprint), describes the collection as “a sharp and intimate take on romance and infidelity, trust and betrayal,” written in a “deadpan narrative, cool and precise.”  Linden’s story “Pests” was recently published in The Paris Review.   Linden will join the ranks of several talented literary writers that Little A has published since its launch in March — including A.L. Kennedy, Shawn Vestal, and Jenny Davidson. (Sonya)

The Infatuations by Javier Marias: Marias’s only competitor for the title of Spain’s Most Important Living Writer may be Enrique Vila-Matas. Each of his last few books with New Directions, translated by Margaret Jull Costa, set a new high-water mark—most recently, the mammoth trilogy Your Face Tomorrow. Now he’s made the jump to Knopf, which means you’re about to hear a lot about him. And deservedly so, it would seem: The Infatuations has already been called “great literature” in Spain and “perhaps his best novel” in the U.K. Is there any reason on earth you wouldn’t want to read the greatest novel of Spain’s greatest living writer? Of course there isn’t. Now get thee to a bookshop! (Garth)

The Color Master by Aimee Bender: Ogres, tiger-mending and playing at prostitution—yep, it’s time for Aimee Bender to once again enchant us with her whimsical and magical fiction.  Her next story collection comes out just three years after the publication of her bestselling novel The Particular Sadness of Lemon Cake, and it looks like the book is a return to form for Bender.  Publishers Weekly says that even the tales that resemble children’s storybooks “are haunted by a taut, sardonic melancholy,” noting that her “mood pieces” about female friendship are the strongest of the bunch. (Edan)

Elect H. Mouse State Judge by Nelly Reifler: To Kafka’s “Josephine, the Mouse-Singer” and Bolaño’s “Police Rat” and Mrs. Frisby and that one A.M. Homes story where the kid gets it on with a Barbie doll, we must now add Nelly Reifler’s first novel. It’s a fast-paced caper—politician’s kids get abducted, private eyes go searching—but with a major twist: H. Mouse is a mouse, and both perps and dicks are dolls. Shrewdly, Reifler serves this concoction neat; what could have been cheap thrills give way to weirder and more surprising effects. (Garth)

The Rathbones by Janice Clark: The Rathbones is the most sui generis debut you’re likely to encounter this year. Think Moby-Dick directed by David Lynch from a screenplay by Gabriel Garcia Marquez…with Charles Addams doing the set design and The Decembrists supplying the chanteys. Initially the story of the last surviving member of an eccentric 19th-Century whaling dynasty, it becomes the story of that dynasty itself. I should also say that this was the single most exciting thing I read in manuscript in graduate school, where the author and I studied together. Clark writes a beautiful prose line, and the story, like the ocean, get deeper, richer, and stranger the farther out you go.  (Garth)

A Schoolboy’s Diary and Other Stories by Robert Walser: For a long time, Walser addicts—which is to say, pretty much anyone who has come into contact with this intoxicating writer—had to make do with the novel Jakob van Gunten (but what a novel!) and a slim edition of selected stories. But, half a century after his death, the Swiss master of smallness and obscurity is finally getting the treatment he deserves. Microscripts was one of the best books I read in 2012. The tireless Susan Bernofsky has also given us versions of The Tanners, The Assistant, and a collection of Berlin Stories. In this volume, Damion Searls translates a group of stories about school life—also the engine of much of Jakob van Gunten’s exquisite comedy. (Garth)

Necessary Errors by Caleb Crain: Lately, it’s seemed that the “literary” first novel had become a genre unto itself: a certain page-limit, a certain definition of scope, a certain set of problems, modestly conceived and modestly transcended. If so, Crain’s stately, wry, and generous first novel breaks the mold. Certainly, there’s a classic coming-of-age narrative here. But as the back-cover blurbs attest, the adventures of American Jacob Putnam in Czechoslovakia right after the Iron Curtain’s fall recall Henry James as much as they do Ben Lerner. Crain’s broad social canvas and his deep interest in the lives of other people are marks of distinction.  (Garth)

The Novel: An Alternative History (1600-1800) by Steven Moore: The first volume of Moore’s magisterial survey advanced a theory of the novel as inherently experimental and multicultural, and much older than is generally acknowledged. It’s not that Jane Austen moves to the margins and Gertrude Stein to the center, but that Austen and Stein become recognizably part of the same story. And though Moore hews closer, necessarily, to synopsis than to close-reading, his project is an invaluable desk reference for the catholic reader. In volume 2, he turns his sights to the era that inspired the argument in the first place, a period that begins with Don Quixote. (Garth)

The Sound of Things Falling by Juan Gabriel Vásquez: At The Age, Cameron Woodhead writes: “With The Sound of Things Falling, Colombian novelist Juan Gabriel Vásquez has created a story that can be appreciated purely for the dramatic way it dives into the black hole of his country’s past—the drug cartels and paramilitaries that scarred a generation—although the supple thought-weave of the prose won’t be lost on anyone with a taste for more reflective fiction.” Woodhead also compares Vasquez to Graham Greene, W.G. Sebald, and Robert Bolaño—all writers who give us an expansive sense of a country’s history and legacy through the lives of compelling individuals. The protagonist is a Colombian lawyer named Antonio whose memory takes him back to a long-ago acquaintance with the ex-pilot Ricardo LaVerde and a series of mysterious (and yes, violent) occurrences. Vásquez, who is 40, has published four previous novels, but prefers to not count the first two, which he wrote in his early 20s; so “officially,” Sound is his third novel. (Sonya)

The Virgins by Pamela Erens: This smart, unsettling novel is narrated by a middle-aged man obsessed by the star-crossed love affair of two classmates at his boarding school thirty years ago. Erens, author of one previous novel, The Understory, displays an uncanny gift for writing honestly about pot-toking, hormone-addled adolescents while granting them the full range of human emotion one expects from a novel for adults. The novel is from indie press Tin House Books, a spinoff of the well-known literary magazine that has quietly built a reputation as a home for first-rate literary fiction. (Michael)

The Wicked Girls by Alex Marwood: Alex Marwood is the pseudonym of British journalist Serena Mackesy, and The Wicked Girls is her dark and beautifully executed first novel. In the mid-eighties, two eleven-year-old girls meet for the first time and become friends. By the end of the day, a younger child has died at their hands. Twenty-five years later, with new lives and changed identities, the two women encounter one another in a seaside town where a serial killer is active. A haunting meditation on crime and punishment. (Emily)

The Affairs of Others by Amy Grace Loyd: Loyd, formerly the fiction editor at Playboy, moves to the other side of the desk with a first novel of elegant intensity. A young widow in Brooklyn has bought her apartment building, and so become an accidental landlord. Or do people still say landlady? At any rate, her straitened existence is challenged by the arrival of a fascinating new tenant, with emotional transformation the ultimate issue. Loyd’s burnished, spare sentences conceal hidden volumes of emotion, and in its different moods, the book may put readers in mind of Joseph O’Neill’s Netherland or of a more hopeful version of Claire Messud’s recent The Woman Upstairs. (Garth)

Brief Encounters with the Enemy by Saïd Sayrafiezadeh: Sayrafiezadeh’s acclaimed memoir, When Skateboards Will Be Free, chronicled a childhood being raised by an Iranian father and American Jewish mother united by an extreme devotion to the Socialist Workers Party. Three years later, Sayrafiezadeh, whose fiction has appeared in Granta, The New Yorker, and The Paris Review, among other places, publishes his first short story collection. The everyday trials of his characters, some of them grappling with the rippling effects of a nameless war (“this could be any war, or perhaps the next war,” Sayrafiezadeh told The New Yorker) “are transformed into storytelling that is both universally resonant and wonderfully strange.” (Elizabeth)

The Hypothetic Girl by Elizabeth Cohen: From Other Press, a collection of stories that “captures all the mystery, misery, and magic of the eternal search for human connection” via tales about the bizarre and inarguably ubiquitous world of online dating.  Says Amazon: “With levity and high style, Cohen takes her readers into a world where screen and keyboard meet the heart, with consequences that range from wonderful to weird.”  For anyone who’s been submerged in this wonderful weird search, these stories are likely to ring a therapeutic bell.  Or, in some cases perhaps, a gong.  Look out for an essay from Cohen in July, and an excerpt in early August, at Bloom. (Sonya)

September:

MaddAddam by Margaret Atwood: MaddAddam concludes the dystopian trilogy that Atwood began ten years ago with Oryx and Crake and continued in 2009 with The Year of the Flood. Booklist calls MaddAddam a “coruscating finale in an ingenious, cautionary trilogy of hubris, fortitude, wisdom, love, and life’s grand obstinacy.” (Emily)

 

 

Bleeding Edge by Thomas Pynchon: Since his 1997 comeback, Pynchon’s been uncommonly productive…and, more characteristically, all over the map. I thought Mason & Dixon his best book; Against the Day vastly underrated; and Inherent Vice fun but disposable. Proximity to the present moment can be a telling index of the quality of a Pynchon project, so the setting here—New York’s Silicon Alley on the eve of the dot-com crash—gives one pause. But Pynchon’s ability to “think the present historically” in his last two books was the best thing about them, so maybe he still has much to tell us about the way we live now. (Garth)

Doctor Sleep by Stephen King: Thirty-six years later, it’s here: a sequel to The Shining.  Dan Torrance, the tricycle peddling protagonist of the original horror classic, is now middle-age and working in a nursing home in New Hampshire where he uses his ebbing mental powers to comfort the dying.  The story picks up when Dan tries to save Abra Stone, a twelve-year-old girl with gifts like the ones he used to have, who is in danger from a group called The True Knot, which travels the country consuming children with the gift of The Shining. (Kevin)

The Lowland by Jhumpa Lahiri: Lahiri’s second novel (and fourth book) comes heaped with expectations and describes the relationship between two formerly inseparable brothers born in mid-century Calcutta.  The first, Udayan, is drawn into revolutionary politics; the second, Subash, leaves his native country to make a better life for himself as a scientist in the United States.  But tragedy strikes Udayan and Subash returns home where he gets to know Udayan’s former wife and reconnects with childhood memories. (Kevin)

Someone by Alice McDermott: An excerpt of Alice McDermott’s new novel, Someone, appeared in the New Yorker as a story of the same name.  The story is about Marie, who is seventeen years old in 1937, when a boy from her Brooklyn neighborhood turns her head, fondles her breast, promises marriage, and then spurns her for a better-looking girl.  In the story, the titular Someone is the person who, Marie’s brother promises, will one day love her.  McDermott told The New Yorker’s Deborah Treisman that the novel is the story of “one unremarkable woman,” because “novels about unremarkable women, especially those written by unremarkable women, seem a thing of the past.”   Who you calling “unremarkable,” Alice McDermott? (Lydia)

Seiobo There Below by László Krasznahorkai: In the last few years, American readers have rapidly awakened to Krasznahorkai’s important place in the republic of world letters. He is one of few working novelists who still aspires to mastery, in the Modernist sense, and each of the three previous novels translated into English has been a masterpiece. Those books were set in Europe and New York. Seiobo, published in Hungarian in 2009, reveals a different side of the Krasznahorkai oeuvre: his decades-long engagement with East Asia. It’s a major feat of editing and translating, and the publication date been pushed back. Those who can’t wait should check out the excerpt in Music & Literature. (Garth)

Enon by Paul Harding: Harding’s 2009 debut, Tinkers, won him the Pulitzer Prize and instant acclaim as one of the most profound writers of our time. Enon follows Charlie Crosby, the grandson of Tinkers protagonist George Washington Crosby, through a year of his life after a devastating loss. Inhabiting the same New England landscape so intricately rendered in Tinkers (Enon is the town where George Crosby died), Enon is a story about small moment and big questions. (Janet)

 

John Updike: The Collected Stories by John Updike: This two-volume collection spans the arc of a life’s work. One hundred and eighty-six stories are presented in their final versions and in definitive order of composition, established for the first time by archival research: from “Ace in the Hole” (1953), written when Updike was still a student at Harvard, to “The Full Glass” from 2008, the final year of his life. In his poem “Spirit of ’76,” written during his final illness and published in The New Yorker three months after his death, Updike wrote:
I see clear through to the ultimate page,
the silence I dared break for my small time.
No piece was easy, but each fell finished,
in its shroud of print, into a book-shaped hole. (Emily)
Nine Inches by Tom Perrotta: American fiction’s favorite lighthearted chronicler of suburban angst delivers his first collection of short stories since Bad Haircut, his first book, nineteen years ago. In Nine Inches, Perrotta, the author of the Hollywood-friendly novels Little Children and The Leftovers (currently under development as a HBO series), returns to familiar themes of fractured families and the undercurrent of disappointment that lurks just below the placid surface of suburban life. Perrotta knows his way around a punch line, so expect some chuckles to go along with your quiet desperation. (Michael)

The Childhood of Jesus by J.M. Coetzee: When it came out in the UK and Ireland this Spring, Coetzee’s new novel was received with an even more potent combination of admiration and confusion than his work is normally met with. Reviewing the book in the Telegraph, Michael Preston asked whether it was “possible to be deeply affected by a book without really knowing what it’s about?” (The fairly obvious answer: yes.) A man and a five year old boy arrive in a sort of refugee camp, where they are assigned new names and ages. The boy speaks in riddles and claims to be able to perform miracles. Together, they search for the boy’s mother, and endure a series of odd bureaucratic encounters. The inscrutable spirit of Kafka has often flickered across Coetzee’s pages, and that spirit seems to loom large here. (Mark)

The Maid’s Version by Daniel Woodrell: Daniel Woodrell, a master of “country noir” fiction, makes rare use of autobiography in his new novel, The Maid’s Version.  While growing up in West Plains, Missouri, Woodrell listened to stories his grandmother told about a mysterious dance hall explosion in town in 1928 that killed 39 people.  In the novel, a grandmother tells her grandson about working as a maid for the family that was implicated in the blast but never held responsible.  The novel is “very lyrical and not completely chronological,” Woodrell told an interviewer, “because it’s the story of a family and the after-effects on the family and the grandmother trying to get justice or revenge.” (Bill)

Levels of Life by Julian Barnes: Julian Barnes’s new book is not a novel, and not a memoir, and not a collection of essays, although it appears to contain elements of all three.  The collection begins with a brief history of hot air ballooning and the characters involved in its development and lured by its attractions.  Part two is an imagined romance between Sarah Bernhardt, who was in life one of the people from the latter category, and Colonel Frederick Burnaby, intrepid ballooner (who is, incidentally, documented on the delightful website “Great British Nutters”).  In the third part of his new book, Barnes ties these curious introductory portions into a memoir of his profound grief following the loss of Pat Kavanagh, his wife of 30 years. (Lydia)

Traveling Sprinkler by Nicholson Baker: Last year, Nicholson Baker treated the Internet to a cluster of peculiar, melancholy protest songs about Bradley Manning and the Obama administration’s drone assassination program. The venture was out of character in a way that was, weirdly, entirely characteristic of Baker. The songs appear to have been, at least in part, an aspect of a method writing exercise for his new novel, Traveling Sprinkler—a sort of sequel to 2009’s The Anthologist, in which Paul Chowder sat around having a lot of thoughts about poetry while failing to write the introduction to a poetry anthology. In the new novel, Chowder sits around trying to write protest songs. Very few writers are as interesting as Baker on the theme of men sitting (or standing) around, so this looks promising. (Mark)

Dissident Gardens by Jonathan Lethem: Of the greats of his generation, Lethem is one of the few who’s gotten steadily better, novel by novel. Fortress of Solitude is a better book than Motherless Brooklyn, and in my read, Chronic City is even better than that—the highs less high, but the consistency more consistent. It’s also worth noting that Lethem’s always been a political writer (science-fiction being among other things a way of thinking about the possible) and has been more so lately. Expectations for Dissident Gardens, then—a generation-spanning saga centered around Leftists from Sunnyside Queens—should be very, very high. (Garth)

Mood Indigo by Boris Vian: Few of Vian’s novels have been translated, but L’Ecume des Jours is appearing in English for the third time, with a third title (Mood Indigo, Froth on the Daydream, Foam of the Daze, take your pick).  Still, we should be grateful for what we are given—Le Monde named L’Ecume number 10 on the 100 best books of the century.  Vian (d. 1959), published under his own name and the pseudonym Vernon Sullivan.  He was a trumpeter in the Hot Club de France, devotee of Duke Ellington, ingester of peyote, consort of Sartre (until Sartre consorted with his wife).  Written in 1947, L’Ecume is a sad, fanciful love story (which, the Harvard Crimson wrote in 1969, read like “perceptions at a stoned-soul picnic,” in a good way).  Mood Indigo received the Michel Gondry film treatment last spring. (Lydia)

Subtle Bodies by Norman Rush: The decade-in-the-making follow-up to Mortals (one of our Best Novels of the Millennium) is also a departure. The first of Rush’s books not set in Botswana, it’s shorter by half than either of his previous novels, and when I got a galley in the mail, the jacket copy—comfortable fortysomethings at a Big Chill-style reunion near the start of the Iraq War—made me even more nervous. Was the Rush magic still there? Then my wife started reading it, then started putting it down to laugh, and finally began forcing me to listen to her read whole passages aloud for the sheer pleasure of the phrases. Note to Mr. Rush: You had me at “berserk industry.” (Garth)

His Wife Leaves Him by Stephen Dixon: A 600-page depiction of a jilted lover’s interior thoughts might not be your idea of an enjoyable book, but in the hands of a writer as talented as Stephen Dixon, it’s certainly one worth reading. In his own description of the novel, he’s noted that it’s about “a bunch of nouns” such as “love, guilt, sickness, death, remorse, loss, family, matrimony, sex, children, parenting, aging, mistakes, incidents, minutiae, birth, music, writing, jobs, affairs, memory, remembering, reminiscences, forgetting, repression, dreams, reverie, nightmares, meeting, dating, conceiving, imagining, delaying, loving.” Indeed these words convey the complexity of a life rendered whole, of a relationship’s threads and effects laid bare, and of honest memories enlivened by an acute and unrelenting ache. When a relationship dies, all that remains are remembered details, and in the words of Jim Harrison, “death steals everything except our stories.” (Nick)

Local Souls by Allan Gurganus: For his first book in a decade, Allan Gurganus returns to the imagined town of Falls, N.C., where he set his first and best-known novel, Oldest Living Confederate Widow Tells All.  His new book, Local Souls, which owes more to Flannery O’Connor than to Nikolai Gogol, is three linked novellas set in the contemporary New South, with its air-conditioning and improved telecommunications, its freer sexuality and looser family ties.  However, some old habits prove hard to break—including adultery, incest and obsession—in these tales that unfold in a Dixiefied version of Winesburg, Ohio. (Bill)

Between Friends by Amos Oz: Born in Jerusalem in 1939, Amos Oz spent three decades living on a kibbutz because city life was not “radical” enough for him and, as he puts it in his new book of stories, Between Friends, he wanted to live among “people with patience and doubts and compassion.” These eight stories, set in the imaginary Kibbutz Yikhat during the 1950s of Oz’s youth, spin around the shortcomings of idealism and the fragility of all utopias.  In the end, the stories affirm Oz’s long-held belief that both on the kibbutz and throughout the larger Middle East, the only hope lies not in conflict, but in compromise. (Bill)

The Brunist Day by Robert Coover: Aside from being a terrific year for first novels, 2013 may be remembered for its efflorescence of major work from the eminences grises of postmodernism. So far, we’ve gotten Gass’s Middle C, Pynchon’s Bleeding Edge, and McElroy’s Cannonball. Now Coover, author of a couple of the great postwar novels (e.g., The Public Burning), returns with a thousand-page sequel to his very first book, The Origin of the Brunists. I haven’t been this excited to read new Coover…well, since I started reading Coover. The folks at Dzanc Books should be commended. (Garth)

Hawthorn & Child by Keith Ridgway: This isn’t the story of a family business, à la Dombey & Son, but rather a buddy-cop detective vehicle—except the cops aren’t exactly buddies, and most of what gets detected is random violence and existential unease. Ridgway is a brilliant stylist from Ireland, and the early word from the U.K. is that he’s hit his stride here, in a kind of deadpan avant-pop tour of contemporary London. (Garth)

 

Duplex by Kathryn Davis: Davis’s earlier novel, The Thin Place, is set in a place where the membrane between the real world and the spirit world is extremely thin. Most of her work, which includes six previous novels, sits at this same juncture, combining real and imagined worlds. Duplex is the story of Mary and Eddie, two children growing up in a duplex outside time, while “adulthood”—a world of sorcerers, robots, and slaves—looms ahead. (Janet)

 

Goat Mountain by David Vann: In his writing across a variety of forms—short stories, novels, memoir, and reportage—David Vann has returned repeatedly to the same deep well of themes: nature, thwarted masculinity, family, and violence. In his third novel Goat Mountain, an eleven-year-old boy goes on a deer-hunt with his father and grandfather, and things, as they tend to do this writer’s work, take a devastating turn. There’s a rawness and obsessional urgency to Vann’s writing that makes this ongoing project of recasting and development among the most compelling in contemporary literature.  (Mark)

At the Bottom of Everything by Ben Dolnick: Dolnick’s third novel is about a dark secret that tears apart a boyhood friendship and how the two are brought back together as adults to reckon with what happened long ago.  The jacket copy calls it “a tale of spiritual reckoning, of search and escape, of longing and reaching for redemption—a tale of near hallucinatory power.” Dolnick, who writes for NPR and the New York Times, has also written a Kindle single called Shelf-Love, about his fanaticism for Alice Munro. (Edan)

The Traymore Rooms by Norm Sibum: Poet Norm Sibum’s 700-pager should be on the radar of all the maximalism-starved readers who landed A Naked Singularity on our Top 10 list in 2012—though the book might more rightly be likened to something by William Gass or Alexander Theroux. Plot isn’t Sibum’s thing, exactly, but his erudition (considerable), sense of character (eccentric), and mood (quietly splenetic) more than compensate. The novel concerns a group of aging friends who share haunts in downtown Montreal. They talk, fight, love, and try to make sense of a historical moment that has disappointed their youthful hopes. And apart from an overreliance on that contemporary workhorse, the absolute phrase, the prose is a consistent pleasure. (Garth)

October:

The Goldfinch by Donna Tartt: In a 2002 interview with The Guardian, Tartt said she couldn’t “think of anything worse than having to turn out a book every year. It would be hell.” She seems to have settled into a pattern of turning out a book every ten or eleven years instead. In her third novel, The Goldfinch, a young boy named Theo Decker survives an accident that kills his mother. In the years that follow, he finds himself drawn to things that remind him of her, including a painting that draws him eventually into the art underworld. (Emily)

Identical by Scott Turow: Every three years, with metronome-like regularity, bestselling lawyer-author Scott Turow comes out with another well-turned legal thriller set in corruption-rife Kindle County. Three years after 2010’s Innocent, Turow is right on schedule with a new thriller focusing on a pair of identical twins, one a candidate for mayor in Kindle County, the other a convicted murderer just released from prison after serving 25 years for killing his girlfriend. This is Turow country, so nothing is as it seems and the plot turns on a re-investigation of the decades-old murder that sent one of the brothers to prison. (Michael)

The Signature of All Things by Elizabeth Gilbert: Elizabeth Gilbert’s return to fiction (she wrote that little-known memoir called Eat Pray Love) is a sprawling historical novel about Alma Whittaker, the daughter of a botanical explorer, and talented scientist in her own right, and her relationship with Utopian artist Ambrose Pike. As the jacket copy says, “Alma Whittaker is a witness to history, as well as maker of history herself.”  The book spans the globe and two centuries, and it sounds like a big and exciting artistic departure for Gilbert. (Edan)

Solo (James Bond) by William Boyd: At this year’s London Book Fair, venerated author William Boyd announced the one-word title of his forthcoming James Bond novel, which reflects the spy’s solitary and unauthorized mission. The book is an authorized sequel to Jeffery Deaver’s novel, Carte Blanche, published in 2011.  At the Book Fair, Boyd said that key action takes place in Africa, the US and Europe, and remarked that Bond “goes on a real mission to real countries and the world he’s in is absolutely 1969. There are no gimmicks, it’s a real spy story.” (Edan)

Dirty Love by Andre Dubus III: The four interlocking stories within Andre Dubus III’s sixth book explore the “bottomless needs and stubborn weaknesses of people seeking gratification in food and sex, work and love.” These highs and lows are depicted by Mark, a Massachusetts man who’s recently discovered his wife’s infidelity; by Marla, an overweight young woman who’s just found a lover; by Robert, who’s just betrayed his pregnant wife; and by Devon, a teenager terrorized by a dirty picture she’s posted online, and whose story comprises the collection’s titular novella. (Nick)

Cartwheel by Jennifer DuBois: Jennifer DuBois follows her decorated first novel, A Partial History of Lost Causes, with Cartwheel, a novel with loud echoes of the recent murder trial, conviction and eventual acquittal of Amanda Knox.  Cartwheel’s protagonist, Lily Hayes, is an American arriving in Buenos Aires for a semester abroad.  Five weeks later she’s the prime suspect in her roommate’s brutal murder.  Questions arise.  Is Lily guilty?  More importantly, exactly who is Lily Hayes?  “Cartwheel will keep you guessing until the final page,” the publisher promises, “and its questions about how much we really know about ourselves will linger well beyond.” (Bill)

The Hired Man by Aminatta Forna: Aminatta Forna made her name with The Devil That Danced on the Water, her memoir about her father’s execution for treason in Sierra Leone.  In her new novel, The Hired Man, a naive middle-class Englishwoman named Laura arrives with her two teenage children in the Croatian town of Gost, planning to renovate an old house.  She enlists the help of an introspective handyman named Duro, and before long the haunted memories of the Yugoslav wars of the 1990s come bubbling up from the past.  Ill-equipped to understand the dark local history, Laura will come to see that there is great power in overcoming the thirst for revenge. (Bill)

Heart of Darkness (Illustrated) by Matt Kish: In October 2011, Tin House books published Matt Kish’s Moby Dick in Pictures, with artwork for each page of text taken from the Signet Classic Paperback.  Now, Heart of Darkness will get similar treatment, although this project has 100 illustrations to Moby Dick’s 552.  The New York Post showcased some wonderful images from the upcoming publication. Matt Kish, a librarian by day, prefers “illustrator” to “artist,” he says, “There’s a lot of artists out there, they’re real assholes, and if you haven’t gone to art school, if you haven’t had an MFA, if you haven’t had a gallery show, if you cant put together some rambling artist statement, you’re not worthy of that term.”  Looks like art to me. (Lydia)

Quiet Dell by Jayne Anne Phillips: The creepy-sounding plot of Jayne Anne Phillips’s fifth novel is based on a true-life 1930s story of a con man who insinuated himself into the life of a young, impoverished widow only to murder her and her three children. Like Phillips’s previous novel, Lark & Termite (a 2009 National Book Award Finalist), parts of the story are set in rural West Virginia, where Phillips herself is from. With a reporter protagonist who sets out to investigate the crime after the fact, there are shades of In Cold Blood. (Hannah)

At Night We Walk in Circles by Daniel Alarcón: Peruvian native Daniel Alarcón’s stories thrive on equal parts revolution and spectacle, as evidenced in his first collection, War by Candlelight, as well as in his first novel, Lost City Radio, where the emcee of a popular radio show reunites loved ones separated during a recent civil war. In At Night We Walk in Circles, the Whiting Award-winning Best Young American Novelist draws inspiration from stories told to him by prisoners jailed in Lima’s largest prison. Alarcón again situates his novel in a South American state, where the protagonist flounders until he’s cast in a revival of touring play penned the leader of a guerilla theatre troupe. (Anne)

The Last Animal by Abby Geni: This debut collection of short stories is thematically linked by characters who “use the interface between the human and the natural world to contend with their modern challenges in love, loss and family life.” Geni, who is a graduate of the Iowa Writers’ Workshop and a winner of the Glimmer Train Fiction Open, has received early praise from Dan Chaon, who says, “These are sharp, incisive, thoughtful, and utterly original stories” and from Jim Gavin, who calls these stories “Haunting and beautiful.” (Edan)

Roth Unbound: A Writer and His Books by Claudia Roth Pierpont: Is it strange that an author many wouldn’t hesitate to call the greatest living American writer has yet to be the subject of a major critical work? Pierpont remedies this with a book described as “not a biography…but something more rewarding: an attempt to understand a great writer through his art.” The New Yorker staff writer should prove a fascinating non-biographer: her previous book was Passionate Minds: Women Rewriting the World, and while her current subject has been accused of sexism many times throughout his long career, David Remnick reported that at a celebration of Roth’s eightieth birthday in March, Pierpont “took it upon herself to survey the variety, depth, and complexity of Roth’s female characters — a strong, and convincing, rebuke to years of criticism that the books are misogynistic.” (Elizabeth)

How to Read a Novelist by John Freeman: Former Granta editor John Freeman’s first book, The Tyranny of Email, considered the ways that email collapsed great distances between us. In it he argues for a more nuanced and discerning form of communication through conversation—an art form that he showcases in his latest book, How to Read a Novelist. In more than fifty interviews and author profiles of literary titans such as Haruki Murakami, Philip Roth, David Foster Wallace, and Doris Lessing, Freeman’s conversations and observations uncover these authors’ obsessions, quirks, and nuances of character as if they’re characters themselves. According to Freeman, a novelist requires observational distance, something to be considered in light of the subject of his first book: “it’s the miraculous distance that I think makes the writers who they are.” (Anne)

The Karl Kraus Project by Jonathan Franzen: Karl Kraus, as immortalized in Walter Benjamin’s essay of the same name, was an incendiary aphorist and, in his one-man journal Die Fackel (The Torch), a critic who rivaled Nietzche for implacability. His influence on the culture of pre- and interwar Austria and Germany can’t be overstated; writers from Broch to Canetti are in his debt. Yet aphorisms are notoriously hard to translate, and to date, no really good volume of Kraus has been available to lay readers in English. Jonathan Franzen’s decision to attempt one is as likely to provoke grousing as most everything he does, but I, for one, salute his berserk industry. (Garth)

The Most of Nora Ephron by Nora Ephron: Ephron died a year ago and this fall Random House is bringing out a wide-ranging collection of her writing edited by Robert Gottlieb.  The screenplay to When Harry Met Sally will be in there, as will her famous piece on being flat-chested, blog posts on politics and dying, and the screenplay to her last work, Lucky Guy.   (Kevin)

 

The Pure Gold Baby by Margaret Drabble: Drabble’s eighteenth novel—her first since 2006—is set in 1960s London. It centers on Jessica, an anthropology student who, after becoming pregnant during an affair with a married professor, is forced to raise a daughter alone, her own life’s trajectory fracturing as a result. “One thing I have never been very good at is creating ‘good’ mothers,” Drabble said in a 1978 The Paris Review interview. “I’d written books and books before someone pointed out that I was perpetually producing these ‘bad’ mothers.” The “prismatic” novel is told from the perspectives of “the mothers who surround Jess,” examining “unexpected transformations at the heart of motherhood.” (Elizabeth)

Half the Kingdom by Lore Segal: Lore Segal is a treasure-house of wit and a power-house of style. Lucinella, reissued as part of Melville House’s Art of the Novella Series, was one of the best books I read in 2009. Now Melville House returns to the well for her first novel since the Pulitzer finalist Shakespeare’s Kitchen. The plot involves a suspicious surge in the incidence of Alzheimer’s Disease among patients (characters from previous Segal novels among them) at a Manhattan emergency room in the period after September 11. Even the catalog copy brims with insight: “terrorist paranoia and end-of-the-world hysteria masks deeper fears about mortality.” You’re welcome, America. (Garth)

The Night Guest by Fiona MacFarlane: Penguin Australia is calling Macfarlane “a new voice” and “a writer who comes to us fully formed.”  It’s true that The Night Guest, which will be published in October, is Macfarlane’s debut novel; but she’s been publishing stories for some time now, and here you can read a Q&A about her story “Art Appreciation,” published in The New Yorker this past May.  The Night Guest centers around the mysterious arrival of Frida at the isolated beach house of Ruth, a widow, but “soars above its own suspense to tell us, with exceptional grace and beauty, about ageing, love, trust, dependence, and fear; about processes of colonization; and about things (and people) in places they shouldn’t be.” (Sonya)

Every Short Story: 1951-2012 by Alasdair Gray: Exactly what it says on the tin: the comprehensive volume (nearly 1,000 pages!) offers up more than half a century of the Scottish fantasist’s short fiction, including sixteen stories published here for the first time. Known for his dark humor and wild imagination, the stories span the broad range of his fascinating career. Whimsical drawings are interspersed throughout, the stories as much visual works as literary ones. “Illustration and typography play a major part in his work,” says The Guardian. “He doesn’t just write books, he creates them.” It’s probably worth noting, too, that The Guardian has also described Gray as a “a glorious one-man band, the dirty old man of Scottish letters.” (Elizabeth)

Personae by Sergio de la Pava: In the wake of A Naked Singularity’s success, the University of Chicago Press is likewise reissuing de la Pava’s self-published second novel, Personae. In most ways, it’s as different from its predecessor as grits from greens—a Cloud Atlas-y series of nested genre pieces covering the whodunit, the interior monologue, and the theater of the absurd. But fans of the earlier book will recognize de la Pava’s fearlessness and wild ambition, along with the ventriloquistic range that made the Jalen Kingg letters so moving. An excerpt is available at The Quarterly Conversation. (Garth)

The Daylight Gate by Jeanette Winterson: Winterson’s new novella, published to critical acclaim in the UK last year, takes on the trial of the Lancashire Witches in 1612, when a group of destitute outcasts, mostly women, were put on trial for witchcraft. “What is clear amid the poverty and brutality here,” the critic Arifa Akbar wrote in The Independent, “is that other-worldy evil is far outweighed by the harm that human beings inflict.” (Emily)

 

The Luminaries by Eleanor Catton: The author of the critically acclaimed debut novel The Rehearsal returns with a literary mystery set in 19th century New Zealand. When Walter Moody arrives on the coast of New Zealand, hoping to strike it rich in the gold fields, he stumbles upon a gathering of men who have met in secret to discuss a number of apparently coincidental recent events: on the day when a prostitute was arrested, a rich man disappeared, a down-on-his-luck alcoholic died, and a ship’s captain canceled all of his appointments and fled. The prostitute is connected to all three men, and Moody finds himself drawn into their interlinked lives and fates. (Emily)

November:

A Prayer Journal by Flannery O’Connor: When Flannery O’Connor was in her early 20s and a student at the Iowa Writers’ Workshop, she kept a journal which focused on her relationship with her faith. Recently discovered, this journal should be a fascinating prospect for anyone with an interest in O’Connor’s writing, inseparable as it is from her Catholic belief in sin and redemption. It dates from 1946-47, around the time she was writing the stories that would converge into her debut novel Wise Blood. It looks to have been an exercise in bringing herself closer to her God through the act of writing: “I do not mean to deny the traditional prayers I have said all my life; but I have been saying them and not feeling them. My attention is always fugitive. This way I have it every instant.” (Mark)

Death of the Black-Haired Girl by Robert Stone: Steven Brookman is a brilliant professor at an elite college in New England. Maud Stack is his promising and alluring young student. You know where this is going. Unfortunately, however, Professor Brookman is a married man, and Maud Stack’s passions are “not easily contained or curtailed.” In this tale of infidelity and its affects on human relationships—as well as on the institutions in which they reside—Robert Stone makes clear that almost nothing is black and white, and that when it comes to “the allure of youth” and “the promise of absolution,” all roads may lead to madness. (Nick)

A Permanent Member of the Family by Russell Banks: Russell Banks—the author of The Sweet Hereafter and The Darling (among many others) and an acknowledged master chronicler of the tragedies of American life—will publish his first collection of short stories in fifteen years.  The book is composed of twelve stories, six of which appear for the first time. The two-time Pulitzer Prize finalist’s last novel, Lost Memory of Skin, documented the straitened lives of a group of sex offenders living under a Florida causeway. (Lydia)

Report from the Interior by Paul Auster: Last year Auster released Winter Journal, a personal history of the author’s own body.  This fall he will publish a companion piece of sorts that depicts the world as he saw it as a child growing up in New Jersey in the 1950s. (Kevin)

 

 

The Isle of Youth by Laura van den Berg: Laura van den Berg brings her mystical touch to her second collection of short stories, following her highly praised first collection, What The World Will Look Like When All The Water Leaves Us, which was shortlisted for The Frank O’Connor International Award. From a writer who professes to “freaking love coming up with zany plots,” The Isle of Youth delivers with stories of magicians, private detectives, and identity-trading twins. (Hannah)

 

Hild by Nicola Griffith: Nicola Griffith, British novelist and former poster child for the woes of American immigration policy (in 1998, The Wall Street Journal called her “a lesbian science-fiction writer,” like it’s a bad thing).  Her newest novel Hild takes place in seventh-century Britain in the Synod of Whitby, where the people were deciding what kind of Christians to be. The name “Hild” refers to the person we now know as St. Hilda, who presided over the conference during which the Synod debated the relative merits of Celtic and Roman Christianity.  In an interview with her editor, Griffith reported that the source material on St. Hilda is basically limited to five pages in the Venerable Bede’s Ecclesiastical History of the English People, so she was compelled to do a ferocious amount of research to recreate the world and customs, if not the life, of this early English figure. (Lydia)

Collected Stories by Stefan Zweig: Pushkin Press anointed 2013 as “The Year of Stefan Zweig,” in order to commemorate the 70th anniversary of the famed Austrian author’s death by a wartime suicide pact. Zweig’s fictions are oft fueled by seduction, desire, and affairs of the heart, mettle which helped make him an author of international renown during his tumultuous lifetime. Pushkin is singlehandedly attempting to reinvigorate Zweig’s reputation by issuing a series of rereleases and a handful of new translations of his works. An ideal introduction for the unacquainted comes in the form of Zweig’s Collected Stories, featuring twenty-three stories translated by Anthea Bell. (Anne)

Beyond:

Andrew’s Brain by E.L. Doctorow: Speaking of eminences grises… From The March to Homer & Langley to that cover version of Hawthorne’s “Wakefield” that ran in The New Yorker a few years back, Doctorow just keeps swinging. The product description on Amazon is sketchy, but the talk of a main character “speaking from an unknown place and to an unknown interlocutor [about] the circumstances that have led him to commit a mysterious act” sound downright Beckett-y, while the title makes me secretly hope Doctorow’s returning to science fiction (after suppressing his previous effort, Big as Life). (Garth)

A Place in the Country by W.G. Sebald: W.G. Sebald’s collection of six essays was originally published in German in 1998, three years before his untimely death.   The collection is an homage to six writers and artists (“colleagues,” he calls them, and “Alemmanic”), all of whom meant something to Sebald: Johann Peter Hebel, Jean-Jacques Rousseau, Eduard Mörike, Gottfried Keller, Robert Walser, and Jan Peter Tripp.  Already out in the United Kingdom, the essays are apparently solidly in the Sebald tradition—which, as I understand it, defies attribution of stolid nouns like “criticism,” “fiction,” or “biography,” rejoicing instead in the patterns and echoes of what one critic called “half-reality.”  (Lydia)

Silence Once Begun by Jesse Ball: Chronically saddled with the designation of “experimental author,” Jesse Ball has written three novels, including The Way Through Doors, a book of poems and flash fiction, and a co-written prose poem, each work demonstrating a gift for quiet, powerful prose and a loose relationship with realism. His first hardcover release, Silence Once Begun, tells the story of a man who confesses to a string of crimes in writing, then never speaks during his arrest or interrogation, and the journalist who becomes obsessed with his case. (Janet)

On Such a Full Sea by Chang-rae Lee: Best known for his haunting stories of Korean history and American immigrant life, Korean-American novelist Chang-rae Lee tries his hand at speculative fiction, setting his new novel in a dystopian future in which America is in steep decline and urban neighborhoods have been turned into walled labor colonies that provide fresh produce and fish for the surrounding villages where the elite live. In the novel, Fan, a woman laborer, sets out in search of a vanished lover and finds herself crossing the lawless Open Counties, where the government exerts little control and crime is rampant. (Michael)

Perfect by Rachel Joyce: Rachel Joyce’s first novel, The Unlikely Pilgrimage of Harold Fry, was a national bestseller and was longlisted for the Man Booker Prize.  Her highly anticipated second novel has two narratives, one about two boys in the early 1970s and their obsession with the two seconds added to clock time to balance with the movement of the earth, and one about a present-day man who is debilitated by his obsessive-compulsive routines.  Blogger Kate Neilan loved it, saying, “Rachel Joyce should be praised from the rooftops for Perfect; there’s not a thing I’d change about it.”

Leaving the Sea by Ben Marcus: “With Ben Marcus, as with Beckett, such disruptions are signs of literature itself being stretched and tensed, pressed to express the process of a writer testing his limits,” says David Winters in his Millions review of Marcus’s recent novel The Flame Alphabet. Marcus has long been a champion of experimental writing and innovative uses of language, as demonstrated by the stories he selected for the unmatched Anchor Book of New American Short Stories. His forthcoming Leaving the Sea is the first collection of Marcus’s short stories. Expect nothing except more boundary pushing and an exquisite sense of the unexpected. (Anne)

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