Mentioned in:
A Year in Reading: 2024
Welcome to the 20th (!) installment of The Millions' annual Year in Reading series, which gathers together some of today's most exciting writers and thinkers to share the books that shaped their year. YIR is not a collection of yearend best-of lists; think of it, perhaps, as an assemblage of annotated bibliographies. We've invited contributors to reflect on the books they read this year—an intentionally vague prompt—and encouraged them to approach the assignment however they choose.
In writing about our reading lives, as YIR contributors are asked to do, we inevitably write about our personal lives, our inner lives. This year, a number of contributors read their way through profound grief and serious illness, through new parenthood and cross-country moves. Some found escape in frothy romances, mooring in works of theology, comfort in ancient epic poetry. More than one turned to the wisdom of Ursula K. Le Guin. Many describe a book finding them just when they needed it.
Interpretations of the assignment were wonderfully varied. One contributor, a music critic, considered the musical analogs to the books she read, while another mapped her reads from this year onto constellations. Most people's reading was guided purely by pleasure, or else a desire to better understand events unfolding in their lives or larger the world. Yet others centered their reading around a certain sense of duty: this year one contributor committed to finishing the six Philip Roth novels he had yet to read, an undertaking that he likens to “eating a six-pack of paper towels.” (Lucky for us, he included in his essay his final ranking of Roth's oeuvre.)
The books that populate these essays range widely, though the most commonly noted title this year was Tony Tulathimutte’s story collection Rejection. The work of newly minted National Book Award winner Percival Everett, particularly his acclaimed novel James, was also widely read and written about. And as the genocide of Palestinians in Gaza enters its second year, many contributors sought out Isabella Hammad’s searing, clear-eyed essay Recognizing the Stranger.
Like so many endeavors in our chronically under-resourced literary community, Year in Reading is a labor of love. The Millions is a one-person editorial operation (with an invaluable assist from SEO maven Dani Fishman), and producing YIR—and witnessing the joy it brings contributors and readers alike—has been the highlight of my tenure as editor. I’m profoundly grateful for the generosity of this year’s contributors, whose names and entries will be revealed below over the next three weeks, concluding on Wednesday, December 18. Be sure to subscribe to The Millions’ free newsletter to get the week’s entries sent straight to your inbox each Friday.
—Sophia Stewart, editor
Becca Rothfeld, author of All Things Are Too Small
Carvell Wallace, author of Another Word for Love
Charlotte Shane, author of An Honest Woman
Brianna Di Monda, writer and editor
Nell Irvin Painter, author of I Just Keep Talking
Carrie Courogen, author of Miss May Does Not Exist
Ayşegül Savaş, author of The Anthropologists
Zachary Issenberg, writer
Tony Tulathimutte, author of Rejection
Ann Powers, author of Traveling: On the Path of Joni Mitchell
Lidia Yuknavitch, author of Reading the Waves
Nicholas Russell, writer and critic
Daniel Saldaña París, author of Planes Flying Over a Monster
Lili Anolik, author of Didion and Babitz
Deborah Ghim, editor
Emily Witt, author of Health and Safety
Nathan Thrall, author of A Day in the Life of Abed Salama
Lena Moses-Schmitt, author of True Mistakes
Jeremy Gordon, author of See Friendship
John Lee Clark, author of Touch the Future
Ellen Wayland-Smith, author of The Science of Last Things
Edwin Frank, publisher and author of Stranger Than Fiction
Sophia Stewart, editor of The Millions
A Year in Reading Archives: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The Great Fall 2024 Book Preview
With the arrival of autumn comes a deluge of great books. Here you'll find a sampling of new and forthcoming titles that caught our eye here at The Millions, and that we think might catch yours, too. Some we’ve already perused in galley form; others we’re eager to devour based on their authors, plots, or subject matters. We hope your next fall read is among them.
—Sophia Stewart, editor
October
Season of the Swamp by Yuri Herrera, tr. Lisa Dillman [F]
What it is: An epic, speculative account of the 18 months that Benito Juárez spent in New Orleans in 1853-54, years before he became the first and only Indigenous president of Mexico.
Who it's for: Fans of speculative history; readers who appreciate the magic that swirls around any novel set in New Orleans. —Claire Kirch
The Black Utopians by Aaron Robertson [NF]
What it is: An exploration of Black Americans' pursuit and visions of utopia—both ideological and physical—that spans the Reconstruction era to the present day and combines history, memoir, and reportage.
Who it's for: Fans of Saidiya Hartman's Wayward Lives, Beautiful Experiments and Kristen R. Ghodsee's Everyday Utopia. —Sophia M. Stewart
The Third Realm by Karl Ove Knausgaard, tr. Martin Aitken [F]
What it is: The third installment in Knausgaard's Morning Star series, centered on the appearance of a mysterious new star in the skies above Norway.
Who it's for: Real Knausgaard heads only—The Wolves of Eternity and Morning Star are required reading for this one. —SMS
Brown Women Have Everything by Sayantani Dasgupta [NF]
What it is: Essays on the contradictions and complexities of life as an Indian woman in America, probing everything from hair to family to the joys of travel.
Who it's for: Readers of Durga Chew-Bose, Erika L. Sánchez, and Tajja Isen. —SMS
The Plot Against Native America by Bill Vaughn [F]
What it is: The first narrative history of Native American boarding schools— which aimed "civilize" Indigenous children by violently severing them from their culture— and their enduring, horrifying legacy.
Who it's for: Readers of Ned Blackhawk and Kathleen DuVal. —SMS
The Mighty Red by Louise Erdrich [F]
What it is: Erdrich's latest novel set in North Dakota's Red River Valley is a tale of the intertwined lives of ordinary people striving to survive and even thrive in their rural community, despite environmental upheavals, the 2008 financial crisis, and other obstacles.
Who it's for: Readers of cli-fi; fans of Linda LeGarde Grover and William Faulkner. —CK
The Position of Spoons by Deborah Levy [NF]
What it is: The second book from Levy in as many years, diverging from a recent streak of surrealist fiction with a collection of essays marked by exceptional observance and style.
Who it's for: Close lookers and the perennially curious. —John H. Maher
The Bog Wife by Kay Chronister [F]
What it's about: The Haddesley family has lived on the same West Virginia bog for centuries, making a supernatural bargain with the land—a generational blood sacrifice—in order to do so—until an uncovered secret changes everything.
Who it's for: Readers of Karen Russell and Jeff VanderMeer; anyone who has ever used the phrase "girl moss." —SMS
The Great When by Alan Moore [F]
What it's about: When an 18-year old book reseller comes across a copy of a book that shouldn’t exist, it threatens to upend not just an already post-war-torn London, but reality as we know it.
Who it's for: Anyone looking for a Sherlock Holmes-style mystery dipped in thaumaturgical psychedelia. —Daniella Fishman
The Message by Ta-Nehisi Coates [NF]
What it's about: One of our sharpest critical thinkers on social justice returns to nonfiction, nearly a decade after Between the World and Me, visiting Dakar, to contemplate enslavement and the Middle Passage; Columbia, S.C., as a backdrop for his thoughts on Jim Crow and book bans; and the Israeli-occupied West Bank, where he sees contemporary segregation in the treatment of Palestinians.
Who it’s for: Fans of James Baldwin, George Orwell, and Angela Y. Davis; readers of Nikole Hannah-Jones’s The 1619 Project and Isabel Wilkerson’s Caste, to name just a few engagements with national and racial identity. —Nathalie op de Beeck
Abortion by Jessica Valenti [NF]
What it is: Columnist and memoirist Valenti, who tracks pro-choice advocacy and attacks on the right to choose in her Substack, channels feminist rage into a guide for freedom of choice advocacy.
Who it’s for: Readers of Robin Marty’s The New Handbook for a Post-Roe America, #ShoutYourAbortion proponents, and followers of Jennifer Baumgartner’s [I Had an Abortion] project. —NodB
Gifted by Suzuki Suzumi, tr. Allison Markin Powell [F]
What it's about: A young sex worker in Tokyo's red-light district muses on her life and recounts her abusive mother's final days, in what is Suzuki's first novel to be translated into English.
Who it's for: Readers of Susan Boyt and Mieko Kanai; fans of moody, introspective fiction; anyone with a fraught relationship to their mother. —SMS
Childish Literature by Alejandro Zambra, tr. Megan McDowell [F]
What it is: A wide-ranging collection of stories, essays, and poems that explore childhood, fatherhood, and family.
Who it's for: Fans of dad lit (see: Lucas Mann's Attachments, Keith Gessen's Raising Raffi, Karl Ove Knausgaard's seasons quartet, et al). —SMS
Books Are Made Out of Books ed. Michael Lynn Crews [NF]
What it is: A mining of the archives of the late Cormac McCarthy with a focus on the famously tight-lipped author's literary influences.
Who it's for: Anyone whose commonplace book contains the words "arquebus," "cordillera," or "vinegaroon." —JHM
Slaveroad by John Edgar Wideman [F]
What it is: A blend of memoir, fiction, and history that charts the "slaveroad" that runs through American history, spanning the Atlantic slave trade to the criminal justice system, from the celebrated author of Brothers and Keepers.
Who it's for: Fans of Clint Smith and Ta-Nehisi Coates. —SMS
Linguaphile by Julie Sedivy [NF]
What it's about: Linguist Sedivy reflects on a life spent loving language—its beauty, its mystery, and the essential role it plays in human existence.
Who it's for: Amateur (or professional) linguists; fans of the podcast A Way with Words (me). —SMS
An Image of My Name Enters America by Lucy Ives [NF]
What it is: A collection of interrelated essays that connect moments from Ives's life to larger questions of history, identity, and national fantasy,
Who it's for: Fans of Ives, one of our weirdest and most wondrous living writers—duh; anyone with a passing interest in My Little Pony, Cold War–era musicals, or The Three Body Problem, all of which are mined here for great effect. —SMS
Women's Hotel by Daniel Lavery [F]
What it is: A novel set in 1960s New York City, about the adventures of the residents of a hotel providing housing for young women that is very much evocative of the real-life legendary Barbizon Hotel.
Who it's for: Readers of Mary McCarthy's The Group and Rona Jaffe's The Best of Everything. —CK
The World in Books by Kenneth C. Davis [NF]
What it is: A guide to 52 of the most influential works of nonfiction ever published, spanning works from Plato to Ida B. Wells, bell hooks to Barbara Ehrenreich, and Sun Tzu to Joan Didion.
Who it's for: Lovers of nonfiction looking to cover their canonical bases. —SMS
Blue Light Hours by Bruna Dantas Lobato [F]
What it's about: Through the emanating blue-glow of their computer screens, a mother and daughter, four-thousand miles apart, find solace and loneliness in their nightly Skype chats in this heartstring-pulling debut.
Who it's for: Someone who needs to be reminded to CALL YOUR MOTHER! —DF
Riding Like the Wind by Iris Jamahl Dunkle [NF]
What it is: The biography of Sanora Babb, a contemporary of John Steinbeck's whose field notes and interviews with Dust Bowl migrants Steinbeck relied upon to write The Grapes of Wrath.
Who it's for: Steinbeck fans and haters alike; readers of Kristin Hannah's The Four Winds and the New York Times Overlooked column; anyone interested in learning more about the Dust Bowl migrants who fled to California hoping for a better life. —CK
Innie Shadows by Olivia M. Coetzee [F]
What it is: a work of crime fiction set on the outskirts of Cape Town, where a community marred by violence seeks justice and connection; also the first novel to be translated from Kaaps, a dialect of Afrikaans that was until recently only a spoken language.
Who it's for: fans of sprawling, socioeconomically-attuned crime dramas a la The Wire. —SMS
Dorothy Parker in Hollywood by Gail Crowther [NF]
What it is: A history of the famous wit—and famous New Yorker—in her L.A. era, post–Algonquin Round Table and mid–Red Scare.
Who it's for: Owners of a stack of hopelessly dog-eared Joan Didion paperbacks. —JHM
The Myth of American Idealism by Noam Chomsky and Nathan J. Robinson [NF]
What it is: A potent critique of the ideology behind America's foreign interventions and its status as a global power, and an treatise on how the nation's hubristic pursuit of "spreading democracy" threatens not only the delicate balance of global peace, but the already-declining health of our planet.
Who it's for: Chomskyites; policy wonks and casual critics of American recklessness alike. —DF
Mysticism by Simon Critchley [NF]
What it is: A study of mysticism—defined as an experience, rather than religious practice—by the great British philosopher Critchley, who mines music, poetry, and literature along the way.
Who it's for: Readers of John Gray, Jorge Luis Borges, and Simone Weil. —SMS
Q&A by Adrian Tomine [NF]
What it is: The Japanese American creator of the Optic Nerve comic book series for D&Q, and of many a New Yorker cover, shares his personal history and his creative process in this illustrated unburdening.
Who it’s for: Readers of Tomine’s melancholic, sometimes cringey, and occasionally brutal collections of comics short stories including Summer Blonde, Shortcomings, and Killing and Dying. —NodB
Sonny Boy by Al Pacino [NF]
What it is: Al Pacino's memoir—end of description.
Who it's for: Cinephiles; anyone curious how he's gonna spin fumbling Diane Keaton. —SMS
Seeing Baya by Alice Kaplan [NF]
What it is: The first biography of the enigmatic and largely-forgotten Algerian artist Baya Mahieddine, who first enchanted midcentury Paris as a teenager.
Who it's for: Admirers of Leonora Carrington, Hilma af Klint, Frida Kahlo, and other belatedly-celebrated women painters. —SMS
Absolution by Jeff VanderMeer [F]
What it is: A surprise return to the Area X, the stretch of unforbidding and uncanny coastline in the hit Southern Reach trilogy.
Who it's for: Anyone who's heard this song and got the reference without Googling it. —JHM
The Four Horsemen by Nick Curtola [NF]
What it is: The much-anticipated cookbook from the team behind Brooklyn's hottest restaurant (which also happens to be co-owned by James Murphy of LCD Soundsystem).
Who it's for: Oenophiles; thirty-somethings who live in north Williamsburg (derogatory). —SMS
Seeing Further by Esther Kinsky, tr. Caroline Schmidt [F]
What it's about: An unnamed German woman embarks on the colossal task of reviving a cinema in a small Hungarian village.
Who it's for: Fans of Jenny Erpenbeck; anyone charmed by Cinema Paradiso (not derogatory!). —SMS
Ripcord by Nate Lippens [NF]
What it's about: A novel of class, sex, friendship, and queer intimacy, written in delicious prose and narrated by a gay man adrift in Milwaukee.
Who it's for: Fans of Brontez Purnell, Garth Greenwell, Alexander Chee, and Wayne Koestenbaum. —SMS
The Use of Photography by Annie Ernaux and Marc Marie, tr. Alison L. Strayer [NF]
What it's about: Ernaux's love affair with Marie, a journalist, while she was undergoing treatment for cancer, and their joint project to document their romance.
Who it's for: The Ernaux hive, obviously; readers of Sontag's On Photography and Janet Malcolm's Still Pictures. —SMS
Nora Ephron at the Movies by Ilana Kaplan [NF]
What it is: Kaplan revisits Nora Ephron's cinematic watersheds—Silkwood, Heartburn, When Harry Met Sally, You've Got Mail, and Sleepless in Seattle—in this illustrated book. Have these iconic stories, and Ephron’s humor, weathered more than 40 years?
Who it’s for: Film history buffs who don’t mind a heteronormative HEA; listeners of the Hot and Bothered podcast; your coastal grandma. —NodB
[millions_email]
The Philosophy of Translation by Damion Searls [NF]
What it is: A meditation on the act and art of translation by one of today's most acclaimed practitioners, best known for his translations of Fosse, Proust, et al.
Who it's for: Regular readers of Words Without Borders and Asymptote; professional and amateur literary translators alike. —SMS
Salvage by Dionne Brand
What it is: A penetrating reevaluation of the British literary canon and the tropes once shaped Brand's reading life and sense of self—and Brand’s first major work of nonfiction since her landmark A Map to the Door of No Return.
Who it's for: Readers of Christina Sharpe's Ordinary Notes and Elizabeth Hardwick's Seduction and Betrayal. —SMS
Masquerade by Mike Fu [F]
What it's about: Housesitting for an artist friend in present-day New York, Meadow Liu stumbles on a novel whose author shares his name—the first of many strange, haunting happenings that lead up to the mysterious disappearance of Meadow's friend.
Who it's for: fans of Ed Park and Alexander Chee. —SMS
November
The Beggar Student by Osamu Dazai, tr. Sam Bett [F]
What it is: A novella in the moody vein of Dazai’s acclaimed No Longer Human, following the 30-something “fictional” Dazai into another misadventure spawned from a hubristic spat with a high schooler.
Who it's for: Longtime readers of Dazai, or new fans who discovered the midcentury Japanese novelist via TikTok and the Bungo Stray Dogs anime. —DF
In Thrall by Jane DeLynn [F]
What it is: A landmark lesbian bildungsroman about 16-year-old Lynn's love affair with her English teacher, originally published in 1982.
Who it's for: Fans of Joanna Russ's On Strike Against God and Edmund White's A Boy's Own Story —SMS
Washita Love Child by Douglas Kent Miller [NF]
What it is: The story of Jesse Ed Davis, the Indigenous musician who became on of the most sought after guitarists of the late '60s and '70s, playing alongside B.B. King, Bob Dylan, John Lennon, and more.
Who it's for: readers of music history and/or Indigenous history; fans of Joy Harjo, who wrote the foreword. —SMS
Set My Heart on Fire by Izumi Suzuki, tr. Helen O'Horan [F]
What it is: Gritty, sexy, and wholly rock ’n’ roll, Suzuki’s first novel translated into English (following her story collection, Hit Parade of Tears) follows 20-year-old Izumi navigating life, love, and music in the underground scene in '70s Japan.
Who it's for: Fans of Meiko Kawakami, Ursula K. Le Guin, and Marlowe Granados's Happy Hour. —DF
Didion & Babitz by Lili Anolik [NF]
What it is: A dual portrait of Joan Didion and Eve Babitz, who are so often compared to—and pitted against—each other on the basis of their mutual Los Angeles milieu.
Who it's for: Fans or haters of either writer (the book is fairly pro-Babitz, often at Didion's expense); anyone who has the Lit Hub Didion tote bag. —SMS
The Endless Refrain by David Rowell [NF]
What it's about: How the rise of music streaming, demonitizing of artist revenue, and industry tendency toward nostalgia have laid waste to the musical landscape, and the future of music culture.
Who it's for: Fans of Kyle Chayka, Spence Kornhaber, and Lindsay Zoladz. —SMS
Every Arc Bends Its Radian by Sergio De La Pava [F]
What it is: A mind- and genre-bending detective story set in Cali, Colombia, that blends high-stakes suspense with rigorous philosophy.
Who it's for: Readers of Raymond Chandler, Thomas Pynchon, and Jules Verne. —SMS
Something Close to Nothing by Tom Pyun [F]
What it’s about: At the airport with his white husband Jared, awaiting a flight to Cambodia to meet the surrogate mother carrying their adoptive child-to-be, Korean American Wynn decides parenthood isn't for him, and bad behavior ensues.
Who it’s for: Pyun’s debut is calculated to cut through saccharine depictions of queer parenthood—could pair well with Torrey Peters’s Detransition, Baby. —NodB
Rosenfeld by Maya Kessler [F]
What it is: Kessler's debut—rated R for Rosenfeld—follows one Noa Simmons through the tumultuous and ultimately profound power play that is courting (and having a lot of sex with) the titular older man who soon becomes her boss.
Who it's for: Fans of Sex and the City, Raven Leilani’s Luster, and Coco Mellor’s Cleopatra and Frankenstein. —DF
Lazarus Man by Richard Price [F]
What it is: The former The Wire writer offers yet another astute chronicle of urban life, this time of an ever-changing Harlem.
Who it's for: Fans of Colson Whitehead's Crook Manifesto and Paul Murray's The Bee Sting—and, of course, The Wire. —SMS
Stranger Than Fiction by Edwin Frank [NF]
What it is: An astute curveball of a read on the development and many manifestations of the novel throughout the tumultuous 20th century.
Who it's for: Readers who look at a book's colophon before its title. —JHM
Letters to His Neighbor by Marcel Proust, tr. Lydia Davis
What it is: A collection of Proust’s tormented—and frequently hilarious—letters to his noisy neighbor which, in a diligent translation from Davis, stand the test of time.
Who it's for: Proust lovers; people who live below heavy-steppers. —DF
Context Collapse by Ryan Ruby [NF]
What it is: A self-proclaimed "poem containing a history of poetry," from ancient Greece to the Iowa Workshop, from your favorite literary critic's favorite literary critic.
Who it's for: Anyone who read and admired Ruby's titanic 2022 essay on The Waste Land; lovers of poetry looking for a challenge. —SMS
How Sondheim Can Change Your Life by Richard Schoch [NF]
What it's about: Drama professor Schoch's tribute to Stephen Sondheim and the life lessons to be gleaned from his music.
Who it's for: Sondheim heads, former theater kids, end of list. —SMS
The Serviceberry by Robin Wall Kimmerer [NF]
What it is: 2022 MacArthur fellow and botanist Kimmerer, an enrolled member of the Citizen Potawatomi Nation, (re)introduces audiences to a flowering, fruiting native plant beloved of foragers and gardeners.
Who it’s for: The restoration ecologist in your life, along with anyone who loved Braiding Sweetgrass and needs a nature-themed holiday gift. —NodB
My Heart Belongs in an Empty Big Mac Container Buried Beneath the Ocean Floor by Homeless [F]
What it is: A pseudonymous, tenderly comic novel of blue whales and Golden Arches, mental illness and recovery.
Who it's for: Anyone who finds Thomas Pynchon a bit too staid. —JHM
Yoke and Feather by Jessie van Eerden [NF]
What it's about: Van Eerden's braided essays explore the "everyday sacred" to tease out connections between ancient myth and contemporary life.
Who it's for: Readers of Courtney Zoffness's Spilt Milk and Jeanna Kadlec's Heretic. —SMS
Camp Jeff by Tova Reich [F]
What it's about: A "reeducation" center for sex pests in the Catskills, founded by one Jeffery Epstein (no, not that one), where the dual phenomena of #MeToo and therapyspeak collide.
Who it's for: Fans of Philip Roth and Nathan Englander; cancel culture skeptics. —SMS
Selected Amazon Reviews by Kevin Killian [NF]
What it is: A collection of 16 years of Killian’s funniest, wittiest, and most poetic Amazon reviews, the sheer number of which helped him earn the rarefied “Top 100” and “Hall of Fame” status on the site.
Who it's for: Fans of Wayne Koestenbaum and Dodie Bellamy, who wrote introduction and afterword, respectively; people who actually leave Amazon reviews. —DF
Cher by Cher [NF]
What it is: The first in a two-volume memoir, telling the story of Cher's early life and ascendent career as only she can tell it.
Who it's for: Anyone looking to fill the My Name Is Barbra–sized hole in their heart, or looking for something to tide them over until the Liza memoir drops. —SMS
The City and Its Uncertain Walls by Haruki Murakami, tr. Philip Gabriel [F]
What it is: Murakami’s first novel in over six years returns to the high-walled city from his 1985 story "Hard-Boiled Wonderland and the End of the World" with one man's search for his lost love—and, simultaneously, an ode to libraries and literature itself.
Who it's for: Murakami fans who have long awaited his return to fiction. —DF
American Bulk by Emily Mester [NF]
What it's about: Reflecting on what it means to "live life to the fullest," Mester explores the cultural and personal impacts of America’s culture of overconsumption, from Costco hauls to hoarding to diet culture—oh my!
Who it's for: Lovers of sustainability; haters of excess; skeptics of the title essay of Becca Rothfeld's All Things Are Too Small. —DF
The Icon and the Idealist by Stephanie Gorton [NF]
What it is: A compelling look at the rivalry between Margaret Sanger, of Planned Parenthood fame, and Mary Ware Dennett, who each held radically different visions for the future of birth control.
Who it's for: Readers of Amy Sohn's The Man Who Hated Women and Katherine Turk's The Women of NOW; anyone interested in the history of reproductive rights. —SMS
December
Rental House by Weike Wang [F]
What it's about: Married college sweethearts invite their drastically different families on a Cape Code vacation, raising questions about marriage, intimacy, and kinship.
Who it's for: Fans of Wang's trademark wit and sly humor (see: Joan Is Okay and Chemistry); anyone with an in-law problem.
Woo Woo by Ella Baxter [F]
What it's about: A neurotic conceptual artist loses her shit in the months leading up to an exhibition that she hopes will be her big breakout, poking fun at the tropes of the "art monster" and the "woman of the verge" in one fell, stylish swoop.
Who it's for: Readers of Sheena Patel's I'm a Fan and Chris Kraus's I Love Dick; any woman who is grateful to but now also sort of begrudges Jenny Offil for introducing "art monster" into the lexicon (me). —SMS
Berlin Atomized by Julia Kornberg, tr. Jack Rockwell and Julia Kornberg [F]
What it's about: Spanning 2001 to 2034, three Jewish and downwardly mobile siblings come of age in various corners of the world against the backdrop of global crisis.
Who it's for: Fans of Catherine Lacey's Biography of X and Joshua Cohen's The Netanyahus. —SMS
Sand-Catcher by Omar Khalifah, tr. Barbara Romaine [F]
What it is: A suspenseful, dark satire of memory and nation, in which four young Palestinian journalists at a Jordanian newspaper are assigned to interview an elderly witness to the Nakba, the violent 1948 expulsion of native Palestinians from Israel—but to their surprise, the survivor doesn’t want to rehash his trauma for the media.
Who it’s for: Anyone looking insight—tinged with grim humor—into the years leading up to the present political crisis in the Middle East and the decades-long goal of Palestinian autonomy. —NodB
The Shutouts by Gabrielle Korn [F]
What it's about: In the dystopian future, mysteriously connected women fight to survive on the margins of society amid worsening climate collapse.
Who it's for: Fans of Korn's Yours for the Taking, which takes place in the same universe; readers of Becky Chambers and queer-inflected sci-fi. —SMS
What in Me Is Dark by Orlando Reade [NF]
What it's about: The enduring, evolving influence of Milton's Paradise Lost on political history—and particularly on the work of 12 revolutionary readers, including Malcom X and Hannah Arendt.
Who it's for: English majors and fans of Ryan Ruby and Sarah Bakewell—but I repeat myself. —SMS
The Afterlife Is Letting Go by Brandon Shimoda [NF]
What it's about: Shimoda researches the mass incarceration of Japanese Americans during WWII, and speaks with descendants of those imprisoned, for this essay collection about the “afterlife” of cruelty and xenophobia in the U.S.
Who it’s for: Anyone to ever visit a monument, museum, or designated site of hallowed ground where traumatic events have taken place. —NodB
No Place to Bury the Dead by Karina Sainz Borgo, tr. Elizabeth Bryer [F]
What it's about: When Angustias Romero loses both her children while fleeing a mysterious disease in her unnamed Latin American country, she finds herself in a surreal, purgatorial borderland where she's soon caught in a power struggle.
Who it's for: Fans of Maríana Enriquez and Mohsin Hamid. —SMS
The Rest Is Silence by Augusto Monterroso, tr. Aaron Kerner [F]
What it is: The author of some of the shortest, and tightest, stories in Latin American literature goes long with a metafictional skewering of literary criticism in his only novel.
Who it's for: Anyone who prefers the term "palm-of-the-hand stories" to "flash fiction." —JHM
Tali Girls by Siamak Herawi, tr. Sara Khalili [F]
What it is: An intimate, harrowing, and vital look at the lives of girls and women in an Afghan mountain village under Taliban rule, based on true stories.
Who it's for: Readers of Nadia Hashimi, Akwaeke Emezi, and Maria Stepanova. —SMS
Sun City by Tove Jansson, tr. Thomas Teal [F]
What it's about: During her travels through the U.S. in the 1970s, Jansson became interested in the retirement home as a peculiarly American institution—here, she imagines the tightly knit community within one of them.
Who it's for: Fans of Jansson's other fiction for adults, much of which explores the lives of elderly folks; anyone who watched that documentary about The Villages in Florida. —SMS
Editor's note: We're always looking to make our seasonal book previews more useful to the readers, writers, and critics they're meant to serve. Got an idea for how we can improve our coverage? Tell me about it at sophia@themillions.com.
[millions_email]
January Books: A Reading List for the First Month of the New Year
What really begins in January, besides the calendar? Winter isn't even close to ending, and nothing but the new year is being born. But we do, nevertheless, like to start things when the year starts. Maybe it's that the quiet hibernation of the time, after the excess of the holidays, gives us the chance to reflect and resolve. Maybe, for those who believe, it's that our "decayed world," as Edmund Spenser introduced his Shepheardes Calender, has recently been refreshed by the birth of Christ. Or maybe it's just the arbitrary placebo effect of a change of digit and a clear new calendar page. What will you resolve to read in January? A new diet book? Will you try, once again, to finish Getting Things Done? Or will this be the year you'll read Proust, or Infinite Jest, or A Dance to the Music of Time? Or, might I humbly suggest, you could commence the healthful daily practice of reading a literary almanac.
In the 366 daily pages of A Reader's Book of Days, I tell a thousand or two tales from the real lives of writers, as well as the lives they've invented. I also sum up each month with a short essay and a list of recommended reading, and that, I found, was the hardest part. Not that there wasn't enough to say. Quite the opposite: there was too much. Talk about arbitrary! No 400 words or short stack of books could fully represent a 12th of the literary year. So it's with a sense of incompletion that I offer my nine recommendations here for January, books and poems that begin, or hinge, or are contained in the year's first month. Aside from almanacs like mine, surprisingly few books actually start in January, by the way; one of those that does may be the most appropriate January book of them all, though it's not included below: Bridget Jones's Diary, which opens the year not with hope but a hangover.
A Calendar of Wisdom by Leo Tolstoy (1909)
What did Tolstoy, in his last years, believe was the great work of his life? War and Peace? Anna Karenina? No, this anthology he spent 15 years gathering, which mixed his own aphorisms with those of the “best and wisest thinkers of the world,” organized by a theme for each day of the year.
At the Mountains of Madness by H. P. Lovecraft (1936)
As the southern summer opens up the South Pole for exploration, a scientific expedition led by professors Dyer and Lake discovers behind a range of unknown Antarctic mountains a vast, dead, and ancient city, one of the most evil and benighted of Lovecraft’s inhuman horrors.
“New Year Letter” by W. H. Auden (1940)
With hatreds convulsing the world “like a baffling crime,” Auden composed one of his great long poems as a letter to “dear friend Elizabeth,” whose hospitality in his adopted home of New York helped him toward this vision of order in art and life during a time of tyranny.
Do Androids Dream of Electric Sheep? by Philip K. Dick (1968)
You are far more likely to know Blade Runner than its source novel, set on a single January day in a post-nuclear 1992, which features, rather than Ridley Scott’s neon glamor, Dick’s equally thrilling and disturbing brand of stripped-down noir.
Airport by Arthur Hailey (1968)
Arthur Hailey wrote blockbusters like no one else, earnest and fact-filled dramas set in a series of massive industrial monoliths: banks, hotels, power plants, and, in this case, Lincoln International Airport in Illinois, during the worst winter storm of the decade, with one jetliner stuck at the end of a runway and another coming in fast with a bomb on board.
“In California: Morning, Evening, Late January” by Denise Levertov (1989)
Levertov’s pastoral is unseasonal in the temperate lushness of its California winter, and unsettling in its vision of the industrial forces invading and managing its beauty.
The Children of Men by P.D. James (1992)
Another novel overshadowed by its movie adaptation, The Children of Men, in a startling departure from James’s Adam Dalgliesh mysteries, uses the premise of a world in which human fertility has disappeared to examine the nature and lure of power.
White Teeth by Zadie Smith (2000)
Smith’s debut, which begins with Archie Jones's failed January suicide, has too much life to begin with a death: it overflows with not only the variety of multi-ethnic London but the exuberance of Smith taking her brilliant talent for its first walk out on the stage.
The Omnivore’s Dilemma by Michael Pollan (2006)
One of the omnivore’s dilemmas is how to navigate a world whose technology and global trade have accustomed even New Englanders to unseasonal luxuries like sweet corn and asparagus in the middle of January.
Up Shit Creek, Sans Paddle: On David Waltner-Toews’s The Origin of Feces
When you flush the toilet, do you know where your shit goes? Sure, in most cities, it flows into the main sewer system until it reaches a waste-water treatment plant somewhere on the outskirts of town. But then what happens to it? Do you have any idea? If your first response is, “Ask somebody who cares,” then you need to read David Waltner-Toews’s The Origin of Feces. Now.
Despite its goofball title and jokey tone, The Origin of Feces is a deeply serious work of environmental science that strives to do for how we think about shit what Eric Schlosser and Michael Pollan have done for how we think about what we eat. In just more than 200 breezy, gag-filled pages, Waltner-Toews argues that by crowding people into cities and animals onto factory farms we have turned shit from a vital part of a healthy ecosystem into a toxic waste that must be managed. “We are taking a brilliantly complex diversity of animal, plant, and bacterial species,” he writes, “and transforming them into a disordered mess of bacteria and nutrients. We are transforming a wonderful complex planet into piles of shit.”
Unlike journalists such as Schlosser, Pollan, and Malcolm Gladwell who have led the charge in recent years to popularize abstruse scientific findings for lay readers, Waltner-Toews is himself a veterinarian and epidemiologist who teaches population medicine at the University of Guelph, near Toronto. Unfortunately for American readers, Waltner-Toews is also a Canadian whose new book is published by an independent Canadian publisher, ECW Press, which means The Origin of Feces will have nowhere near the public profile of a new Gladwell or Pollan tome.
This is a crying shame. I cannot think of a more necessary work of popular science since Pollan’s The Omnivore’s Dilemma and Schlosser’s Fast Food Nation, which together pulled back the curtain from the American agricultural-industrial food complex and helped kick the slow-food movement into gear. In some ways, though, those books had an easier time of it. While industrial feedlots and food processing plants may be largely invisible to most consumers, we eat the results of this industrial approach to food, which in a lot of cases tastes pretty awful. You don’t have to be an organic farming purist to be willing to pay a little extra to buy whole foods that taste better and, by extension, do slightly less damage to the planet.
No matter how pure your eating habits, however, your shit still stinks, and unless you are living in a yurt in the wilderness, it still gets flushed into the same sewage-treatment system that everybody else uses. Like so many of the systems that undergird a modern industrial society, waste management is opaque to everyone outside a tiny coterie of specialists -- until, of course, there is an outbreak of food-borne illness or a fish-killing algae bloom caused by agricultural runoff, in which case we run around looking for villains, who are almost by definition not ourselves.
Waltner-Toews aims to tear down the mental wall we have built between ourselves and our crap and show us that what we excrete is not simply toxic sludge, but an essential, nutrient-rich link in the life cycle of our planet. To do this, he says, we must first find a good way to talk about shit. Early on, Waltner-Toews takes his reader on a whirlwind tour through the etymology of dozens of terms we use to describe what comes out of our asses, from the profane (“shit” and “crap”) to the euphemistic (“poop” and “BM”) to the technical (“biosolids” and “fecula”). This chapter is hilarious and often enlightening. Who knew that “excrement” comes from the Latin word excernere, “to sift,” or that the Middle English word “crap” found a place in the modern lexicon in part by its association with Thomas Crapper, who popularized the use of the flush toilet?
But here as elsewhere in the book, Waltner-Toews’s purpose is deadly serious. The way we talk about shit, he points out, lays bare the way we think about this basic byproduct of human life -- which is that, most of the time, we’d rather not think about it at all. Shit embarrasses us. It’s dirty and smelly, and in colloquial language it is the go-to term for everything from outrageous lies (“bullshit”) to illegal drugs (“really good shit”) and worthlessness (“a piece of shit”). But when we are forced to think about its real-world consequences, we quickly retreat to vague technical terms like “biosolids” that have the advantage of not having any real meaning to most people.
This matters, Waltner-Toews argues:
We can use precise technical terms when we want the engineers to devise a solution to a specific organic agricultural or urban waste problem...In so doing, however, we alienate the public, who are suspicious of words like biosolids. This public will need to pay for the filtration and treatment plants. They suspect that the solution to chicken shit in the water might not be a better filtration plant, but they don’t have the language to imagine and discuss what the alternatives might be.
Waltner-Toews spends the rest of the book giving his reader the language, and the knowledge, to begin imagining alternatives to our present industrially engineered solutions to our quickly multiplying waste problems. His central point is that in a healthy, bio-diverse ecosystem, shit is neither waste nor a problem. For millions of years, animals have been eating plants and other animals and shitting out whatever their bodies couldn’t use, in the process distributing seeds that have allowed stationary plants to spread and providing nutrients to fertilize the soil and feed billions of insects and smaller organisms.
But by concentrating people and the animals we eat into increasingly industrialized spaces, we have severed the vital link between shit and the natural biological processes that have been cleaning it up and re-using it for as long as there has been life on our planet. One result is pollution, which, as Waltner-Toews suggests, is just a word we use to describe what happens when a substance -- carbon dioxide, say, or pig shit-- gets concentrated in one place faster than the natural systems can recycle it. Another outcome is a rise in food-borne illnesses like salmonella and E. coli, most of which are caused by animal or human shit finding its way into our food. The separation of people and animals from the surrounding biosphere also contributes to broader systemic imbalances that lead to problems like extinction of species that depend on healthy ecosystems, famines resulting from nutrient-starved soils, and widespread use of petroleum-based fertilizers designed in part to make up for the lack of natural shit-based fertilizer.
The problem of shit, Waltner-Toews says, is a classic “wicked problem,” meaning a problem that can’t be solved by straightforward science and engineering without creating a whole set of new problems. We can, for instance, pump pig shit into vast manure lagoons and pump the animals themselves full of antibiotics that help them avoid diseases derived from eating shit, but ultimately the toxic brew in those manure lagoons has to go somewhere and antibiotics have a nasty habit of creating antibiotic-resistant strains of bacteria.
The Origin of Feces is better at describing the wickedness of this problem than at articulating solutions, which get high-falutin’ and improbable in a hurry. Drawing on the work of scientists who see the complex interactions in natural ecosystems as “panarchy,” and quoting the philosopher Arthur Koestler, who saw each living thing as a whole unto itself and also a part of something larger, which together he called a “holon,” Waltner-Toews uses the term “holonocracy,” which he says “embodies a way of interpreting nested social and ecological changes and implies a new way to think about management and governance based on those observations.”
Yeah, I know. I didn’t really follow that, either. In later pages, Waltner-Toews thankfully returns to plain English and argues that the problem of shit is merely a particularly unpleasant manifestation of the more generally unsustainable nature of our industrial age, which has created “too much shit in the world, in all the wrong places.” He details some nifty small-scale solutions involving the repurposing energy-rich shit into fuel or animal feed. But at the macro-level, he seems to be saying that a comprehensive, systemic problem of this kind demands an equally comprehensive, systemic solution, which, if I am reading him right, means seriously rethinking industrialized agriculture and urbanized population. Which -- call me crazy -- I don’t see happening anytime soon.
But of course the very difficulty Waltner-Toews has explaining his solutions for a non-specialist audience underscores the fundamental wickedness of the problem. The Origins of Feces is a genial book, and often a kick to read, but I put it down thinking two things: 1. I will never look at shit the same way again; and 2. We are in deep shit. That Waltner-Toews, clearly one of the smartest guys in the room when it comes to this issue, cannot explain a solution in terms I can understand makes me think we are in even deeper shit than he claims.
We don’t live in Rabbit Angstrom’s world anymore, though maybe we wish we did
The early years of this century have inspired an uncommon amount of speculation about America's advancing age. The Olympic Opening Ceremony in Beijing, and the ensuing changing-of-the-guard buzz it inspired, was only the latest, and most pointed, example of the creeping feeling that America, while hardly a senior citizen, might be past its prime.The change, if it happened, was sudden. I took an international relations class in 2002, my junior year of college, and all of books we read focused on the collapse of the Soviet Union and the new age of American unipolar dominance. Such thinking seems wistful, if not naive today, squeezed and suddenly vulnerable as we are to the unpredictability of terrorism, the rise of petrostates, and the momentum of China. The changing complexion of the world has inspired a raft of books on American descent, some of which look outward in their analysis, like Fareed Zakaria's The Post-American World, and others, like The Omnivore's Dilemma, that look inward at our unsustainable national habits.This shift in the national mood was brought home to me when, this summer, I reread Rabbit, Run, which I had first picked up in high school, and at the time appreciated largely for the basketball on the cover and the scenes between the sheets. The novel opens with Rabbit trapped at home, with a pregnant, alcoholic wife in a dingy apartment. The coat closet door bangs against the television set when he opens it partway to hang up his suit coat, a precise and simple illustration of the confined place the former high school basketball star has come to in his mid-twenties. Sent by his wife Janice to retrieve their young son Nelson, Rabbit instead steals into the family car and points his way out of town. Rabbit does not get far though. He's disoriented soon after crossing from Pennsylvania into West Virginia, and by daybreak the next morning he is back in the bowl of Brewer, ensconced mere miles from the his wife and kid, first with his old high school basketball coach and then for a longer stay with a wounded amateur prostitute named Ruth.I read Rabbit, Run several months after finishing two novels from our time featuring troubled male protagonists. Frank Bascombe in Richard Ford's The Lay of the Land and Hans van den Broek in Joseph O'Neill's Netherland are constructed similarly to Rabbit, in that they are distinctively strong and confident in one part of their lives, but fundamentally weak and uncertain in the emotional dimensions that matter most. Though he's some years out of high school, Rabbit still maintains the cocksureness and presence of a talented athlete. Frank and Hans are confident and assured as well-off, successful professionals, yet like Rabbit, they are emotionally feeble and crippled in their marriages.The characters are similar in design, yet reading Rabbit, Run, I was struck by just how differently Updike depicts Rabbit's dislocation, compared with the renderings Ford and O'Neill give their characters fifty years later. The last line of The Lay of the Land describes Frank's descent into a Minneapolis airport, bound for the Mayo Clinic with his second wife tight by his side. "A bump, a roar," Ford writes, "a heavy thrust forward into life again, and we resume our human scale upon the land." The idea of returning to the ground, and to life, marks a break with the feeling of suspension that permeates the three books of the Bascombe trilogy. Battered by the tragedies that have accumulated in his life, Frank floats down the many miles of the Jersey turnpike, and drifts just out of reach of his emotions and the other people in his life. A similar sense of distance accents Netherland. Hans surveys New York from an upper floor of the Chelsea hotel and appears to have the same vantage on the events of his own life, dazed, almost, as if drugged, a surveyor hanging by the foot from a hot air balloon.Rewind fifty years, however, and Updike offers a different view of the situation. To hear Rabbit tell it, he is anything but adrift from the circumstances of his life. He is more besieged, and the language throughout Rabbit, Run is abrasive and aggressive. Rabbit is "irritated" by Ruth's friends. The strap of his golf bag "gnaws at his shoulder." The chair in his living room "attacks" his knees and his son's strewn toys "derange" his head. He is beset at every turn, gripped as if trying to escape the clawing branches of a phantasmagoric forest. Though Frank and Hans are just as up against it as Rabbit, Updike's language, describing such direct conflict, seems of a simpler time, when the antagonists in the world could still be so clearly named. A bag strap, a chair, some children's toys.The stresses Rabbit faces are the stresses of youth, crucible pressures which bore in on him. It's not pressure, though, that afflicts Hans and Frank. They face instead the dissolution of narrative, the escape of once familiar boundaries and reliable sources of meaning. Frank has confronted the loss of his son, the end of his marriage, and cancer, unknowable episodes from Rabbit's vantage. Frank's losses have not left him with the oppression of a place he knows too well, the way Brewer confronts Rabbit, but instead with the void of a place he knows not at all. That the world becomes less intelligible, not more, as we grow older, is the wisdom Frank has to offer Rabbit, an allowance to ease the struggle, and perhaps a message for our time.
A Year in Reading: David Gutowski
David Gutowski runs the popular music and culture blog Largehearted Boy.As I get ready to move, I have been packing away the books I have read this year. A bit obsessive about my reading, I keep separate shelves for my blog's 52 Books, 52 Weeks and Book Notes projects, along with a shelf for everything else I have squeezed into the year. Gathering my yearly input has given me a rare insight into how amazing this year's books have been for me, especially Michael Pollan's The Omnivore's Dilemma.I keep a "to read" list on my laptop, right now it features over a hundred books, ordered by interest. The Omnivore's Dilemma had been on the list for over a year, ever since my friends started recommending the book to me, always with the wide eyes of recently converted zealots. My wife jokes that my personal mantra is, "I'm skeptical," but with so many people whose opinions I respect behind the book, I decided to give it a chance (and slotted it between the literary fiction and graphic novels that make up the majority of my yearly reading).The Omnivore's Dilemma is the rare book which changed the way I live. Michael Pollan gave me new insight into the true cost of the food we eat. Last year I read Jay Weinstein's The Ethical Gourmet and reconsidered my diet with regard to ecological concerns, but Pollan takes the argument to another plane altogether. As he follows the food chain of industrial, organic, and even foraged foods, he delves into the government's involvement in our diets and the perils facing family farms with graceful prose and strong arguments. Like a good novel, I read the book in one sitting, transfixed by the personal story Michael Pollan shared as well as the national and global ramifications of our diet.More from A Year in Reading 2007
A Two Part Examination of Cost and Value — Part 1. In Defense of Food
Few books caused as much of a stir last year as The Omnivore's Dilemma, Michael Pollan's examination of the American food production system. It exposed, among other things, the fact that Americans are eating way, way too much corn. Corn is in nearly everything at the supermarket, from the corn chips (duh!) to the meat to the walls of the building itself. The most prevalent use of corn, as some of you can no doubt guess, is high-fructose corn syrup, a sugar substitute found in nearly every kind of processed food. The effects of this diet, high in refined carbohydrates, are evident all around us. How can Americans - a people obsessed with dieting and health food - be so tragically unhealthy?This paradox and others are the subject of Pollan's new book In Defense of Food: An Eater's Manifesto. First published as an essay in the New York Times Magazine, In Defense of Food traces the rise of "nutritionism" - the ideology that states that the best way to understand food is as a sum of its component parts. This ideology took hold of food science sometime in the early 60s, changing how Americans thought about eating:Since nutrients, as compared with foods, are invisible and therefore slightly mysterious, it falls to the scientists (and to the journalists through whom the scientists reach the public) to explain the hidden reality of foods to us. In form this is a quasireligious idea, suggesting the visible world is not the one that really matters, which implies the need for a priesthood. For to enter a world where your dietary salvation depends on unseen nutrients, you need plenty of expert help.Nutritionism became politically useful in the 1970s, when the federal government, reacting to soaring rates of heart disease in post-WWII America, tried to tell people to eat less red meat and dairy products. Cattle ranchers took issue with this idea, and nutritionism came to their rescue. After considerable pressure from the meat and dairy industries, the government backed down. "Plain talk about actual foodstuffs - the committee had advised Americans to 'reduce consumption of meat' - was replaced by artful compromise: "choose meats, poultry, and fish that will reduce saturated fat intake.'" With that one sentence, the meat and dairy industry was able to shift the blame for heart disease from a kind of food to a nutrient - saturated fat.As Pollan points out, saturated fat was the first nutrient to be vilified, but hardly the last. Anyone who tried the Atkins diet can tell you with what low esteem most Americans held carbohydrates in the early 21st Century. For each villain nutrient, a counterpoint must exist. For every saturated fat, carbohydrate, or trans fat there is the corresponding "good" cholesterol, antioxidant, or omega 3 fatty acid of which we must certainly get more. The trouble with the science behind nutritionism is that we simply don't know enough about how these nutrients work to properly utilize them (except in whole foods, where these nutrients exist naturally).Take for instance nutritional supplements. For years, we've been told by scientists (and their journalist mouthpieces) that supplementing our diets with pills containing omega 3s or antioxidants would help us be healthier. It turns out this isn't the case. Studies have shown that people who take supplements are healthier than the general population, but this is likely because they are the kind of people who take supplements. In other words, they are educated people who take a greater interest in their health and are therefore more likely to eat nutritious foods and exercise. The supplements themselves had no positive effects, and in some cases, they had negative ones. Beta-carotene, found naturally in several foods, including carrots, is a terrific antioxidant. On its own, as it is in a supplement, beta-carotene actually acts as a pro-oxidant and has been linked to several types of cancers.Where does this leave the American eater? If we can't trust those health labels in the supermarket, if the scientists and journalists don't know for sure what causes food to be beneficial or harmful, what the heck should we do? What should we eat? Pollan spends the final part of the book answering these questions with several general guidelines of how and what to eat. These include fairly straightforward ideas, like "Eat mostly plants, especially leaves," to other, not so obvious ideas, like "Regard non-traditional foods with skepticism." What does he mean by that latter rule? Don't eat anything new? Hardly. Pollan spends much of the book arguing for a return to the food culture of our great-great grandparents, who ate foods like apples, potatoes, bread, milk, eggs, rather than things like mini-bagel pizzas, Cheetos, Snackwells, etc. When Pollan suggests avoiding non-traditional foods, he's really proscribing foods made from soy that weren't traditionally made from soy. So tofu is okay, but soy milk might be suspect. The reasons behind this particular bit of advice are well grounded, in that soy eaten in curd form is a terrific source of protein, while other forms of soy do little other than add needless estrogen to our bodies.In Defense of Food succeeds in offering a path to a healthier life (it's succeeded in getting me out early every Sunday morning to hit the farmers market), but it's far from flawless. Pollan readily acknowledges that not everyone in America can afford to eat the way that he does. One of his rules is to pay more for less food (in other words, pay for smaller quantities of higher quality food). One has to wonder how the working poor in America would react to that suggestion. Pollan's advice is aimed at the segment of the American population that can afford to pay more for their produce and meat, but doesn't. At times, Pollan falls into the trap of using food science to attack itself, citing one study to rebuke or debunk another. He sees the hypocrisy in this, but can never fully escape the language and assumptions inherent to the field.Pollan acknowledges these flaws, but skirts around a greater one, in my opinion. Much of Pollan's suggestions point towards a retreat from the modern American food production system, a system run by corporations like Cargill and Archer-Daniels-Midland. These corporations, in the interest of bottom line profits, have created a system that produces enormous quantities of poor quality food, by choosing varieties of vegetable based on yield rather than nutritional quality, by dousing those crops with chemical pesticides and fertilizers, and by stuffing cattle with unnatural foods (cows were never meant to eat corn, yet most eat nothing but for the last few months of their lives) and antibiotics. This system serves no one's best interests but those of their shareholders. The system pollutes the land (bovine flatulence produces more greenhouse gas every year than automobiles), destroys the American family farm, and, make no mistake about it, is slowly destroying our bodies. The food these companies produce is cheap, but when the secondary costs are considered, is it worth it? Pollan stops short of taking any of these companies to task, and comes nowhere near stating equivocally that the globalization of food production has actually robbed us of nutritious food. In a book that claims to be a manifesto, I expected a little more vitriol.Part 2
Related Books:
