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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
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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.
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A Year in Reading: Yan Lianke
Translated by Carlos Rojas
When the Japanese author Shusaku Endo passed away in 1996, two of his novels, Silence (1966) and Deep River (1993), were placed in his coffin. This past year, I finally had an opportunity to read Chinese translations of these works.
These two novels moved me.
They also infected me.
At the end of the day, literature always derives out of a sense of “suffering because of love, and love because of suffering,” which is reminiscent of Dostoyevsky’s notion of painful lyricism, and in Endo’s Silence, the appearance of the character Kichijiro expands the avenues for expressing the author’s suffering, love, and compassion. Actually, a precedent for the extraordinary religious oppression described in Silence (translated by William Johnston) can be found in Graham Green’s 1940 novel The Power and the Glory, which leaves readers extremely disoriented. Green’s and Endo’s respective novels are both cruel and unsettling, and the works’ narrators are similarly passionate and repressed. However, whereas in Green’s novel, the “whisky priest” is elevated to martyrdom even as he is slipping into decadence, in Endo’s novel, by contrast, the Jesuit priest Sebastião Rodrigues takes the opposite route—in that as he is approaching a pinnacle in life, he cannot help but fall into depths of despair as a result of his concern for the lives of other believers.
If this were the only connection between these two works, it would simply be a case of two stories of religious repression each written with different narrative styles and set in different historical periods and in different locations. Fortunately, Endo’s novel also contains another element that further enhances the work. In addition to Rodrigues, Silence also features the character Kichijiro, who has abandoned his faith and repeatedly sins and confesses, then sins and confesses once again. This character, who in doctrinal terms is viewed as a dog, is described as having yellow teeth, bad breath, and timid, lizard-like eyes. Under the author’s “painful lyricism” writing style, however, he is granted power deriving from experience with pain and darkness. For instance, the novel describes how Kichijiro, after having been forced to trample on a sacred Christian image, entreats a priest in a voice “like that of a child pleading with its mother,” saying:
“Won't you listen to me, father! I've kept deceiving you. Since you rebuked me I began to hate you and all the Christians...
“God asks me to imitate the strong, even though he made me weak...
“Father, what can I do, a weak person like me? . . .
“Father, listen to me. I have done something for which I can never make amends. And you officials! I am a Christian. Put me in prison.”
At
this point, Kichijiro’s soul reaches its highest position, the way that distant
stars can still produce a dazzling light. Rodrigues’s suffering was a result of
the darkness of external religious repression, while Kichijiro’s derives from
own betrayal of his faith, combined with his inability to truly abandon that
same faith. Yet in the dark depths of Kichijiro’s heart, the flame of his faith
and his belief is never truly extinguished.
This is Kichijiro’s soul!
Regardless of how devoted Endo may have been to his religion, or whether he gives the impression that literature was his greater faith, he nevertheless managed to make Kichijiro’s weak and dirty soul sparkle with a thrilling radiance. Nevertheless, the sense of forgiveness, tolerance, and compassion that Endo clearly feels for this character, whose soul has never been extinguished, makes readers realize that Endo never stopped embracing pain and darkness. We thereby appreciate how Endo, either as an author or as a believer, maintained a tradition of respect and humanism in his love of all people, even the sinners.
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In his 1993 novel Deep River (translated by Van C. Gessel), meanwhile, Endo takes the sort of heavenly love that one finds in this sort of pure religious literature, and brings it down to the mortal world. Compared with other great religious novels—such Nathaniel Hawthorne’s Scarlet Letter, Isaac Bashevis Singer’s The Magician of Lublin, Green’s The Power and the Glory, together with Yukiko Mishima’s The Temple of the Golden Pavilion—it is Endo’s Deep River that best succeeds in taking a religious story about God and Heaven, and bringing it back to the mortal world. The novel portrays the lives of several different sorts “nonbelievers”—including Osamu Isobe, who has recently confronted his wife’s death; Mitsuko Naruse, who for years has lived irreverently and mocked religion; Kiguchi, who is trying to recover from wartime experiences; and Numada, who is a relatively simple children’s book author—all of which represent the sufferings of ordinary people deriving from their entanglements and desires outside the immediate sphere of religion. Apart from the priest Augustine Otsu, the non-religion of these sorts of “non-believers” represents the novel’s confrontation between belief and non-belief. Like Silence, Endo’s Deep River uses a priest (Otsu) to narrate a purely religious story—namely, Otsu retains a sense of respect and stubborn skepticism toward all religion, but when it comes to his life, he continually proceeds further and further toward a deep love. On the other hand, all of the secular characters begin with a skepticism toward life and fate, but in the end they all embrace religion.
In Deep River, the entanglement of these two contradictory elements contributes to the work’s attraction and its ability to stimulate readers’ interest. It is not so much that the novel’s strength lies in the way it presents the parallel narratives of four different characters who all visit India’s Ganges River, where their fates become intertwined, but rather that the novel’s (overly) intricate structure is used to take the four protagonists’ frustrations and desires, and transport them to the Ganges River, where they undergo a religious purification and spiritual cleansing. At this point, discriminating readers might be dissatisfied with the way the author deploys this parallel structure—finding that it relies on too many coincidences, to the point that readers may fear that the work might collapse under the weight of excessive melodrama. After finishing the novel, however, one cannot but respect the author’s composition, and specifically the way that he manages to deploy the sort of “embracing suffering” that we associate with Dostoyevsky in order to defuse this melodramatic narrative. This will make readers appreciate how the author, in taking a sense of great religious benevolence and transposing it from a divine position to the position of ordinary individuals in the mortal world, has once again used an unweakened Christian spirit to fill the nihilistic and anxious fissures of mortal existence. In addition, readers will also be reminded of that saying that many people often forget and which authors who overemphasize technique often tend to mock:
The size of one’s heart, corresponds to the size of its significance; and the weight of one’s spirit corresponds to the weight of the corresponding literature.
In the end, Endo’s two novels give readers the sense of narrative that is swamped by lyricism, while this lyricism makes people feel that suffering is but a romantic shout that inevitably culminates in an ear-piercing scream.
Carlos Rojas is Professor of Chinese Cultural Studies at Duke University, and the translator of several works by Yan Lianke, including Yan’s memoir Three Brothers: Memories of My Family (Grove Atlantic, 2020).
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A Story Made Purely of Feeling: The Millions Interviews Cynthia Ozick
For most of her career, Cynthia Ozick has written challenging and brilliant fictions that examine the metaphysical aspects of Jewish culture, examining fabled belief systems, gender dynamics, and the walls culture might build with even-handedness and cautious interest. Novels and short stories like The Puttermesser Papers and “The Shawl” engage with cultural values and history in unique and dark ways, while several nonfiction books, including the forthcoming Critics, Monsters, Fanatics, and Other Literary Essays, examine the value of criticism and the state of the literary novel today. Erudite, intellectually rigorous, and brimming with generous insight, Ozick’s work as a critic and thinker demands a kind of attention from the reader, requires the reader to think along for the promise of revelation.
We corresponded about the new book via email. What follows is a conversation with someone just as interested in and excited about literature as they were when they first put pen to paper.
The Millions: In a Paris Review chat you did in 1985, you talked about having your routine consist of rising in the late afternoon and working through the night. Has anything changed since then in terms of how you approach the work?
Cynthia Ozick: Much blood has gone under the bridge since then. In the last half-dozen years, I've turned into a Snatcher: I read in desperate snatches in the interstices of the Quotidian, and dream of finding three uninterrupted quiet hours to think, moon, mentally maunder, and, above all, write. I am pursued by an anti-Muse; her name is Life. Her homely multisyllabic surname is often left unenunciated, but to certain initiates it may be whispered: Exigency.
TM: What’s your reading life like? Are you reading for, say, an hour or so, and then drafting/editing for a while? Is there urgency to write every day?
CO: Unlike in earlier years, I nowadays consume public information voluminously. I read both The New York Times and Wall Street Journal (one is the poison, the other the antidote, and make of that what you will!), and also many magazines, both the traditional kind and the digital. In terms of living wholly in one's own allotted time, the world is not too much with us. Decades ago, though, it would have been inconceivable for me to acknowledge this. Whatever counted as "politics" was of no interest; nothing mattered but capital-L Literature and its inevitable sibling, History.
Still, writing, whether fiction or essays, is something apart from "information," and rises out of the well of intuition: every human mind has its individuated "tone." So when you ask about "the editing process," and speak of "drafting/editing" — I find these reparative procedures foreign to me. I will not move on to the next sentence until the previous one is fully satisfactory. Perhaps there are two species of writers: those who complete an entire manuscript provisionally, with permission to go back to "polish the verbal surface," as one such writer once described it, and those who endlessly and obstinately fiddle in place. (As for writing every day, see above.)
TM: You’re a writer who develops both formative essays and novels and short stories in nearly equal measure. Since part of drafting fiction involves investigating certain aspects of life, I wonder what you see as being the overlap between scrutiny in your essays and scrutiny in your plot lines, or if they're completely separate.
CO: The difference is crucial: it's between knowing and unknowing (rather than not knowing). If you are going to write an essay on, say, twilight in Sweden, or on Henry James, you know that much: you have your subject already in hand. But if you set out to write a story, whether long or short, you begin with less than a glimpse: a shred of idea that once moved you, or the wisp of memory of a mother and daughter you encountered for seconds as you passed them in a train, or simply an inchoate feeling. Plotting, though, can be intellectual or serendipitous, a deliberate plan or a revelation or an insight, and this can apply also to the "plot" of an essay; but overall an essay is an assessment, or rearrangement, of given materials, while a story must discover what it is made of in the very course of its own making.
TM: I’m interested in how this differentiates from writing an essay or a piece of creative nonfiction.
CO: In writing fiction, one creates a character, but very often it's the character who influences the trajectory of events and ultimately creates the story. This wouldn't necessarily apply to certain types of genre fiction, such as the detective novel, where the writer is in full control and follows the design of a prepared plot. But when the imagination is untethered and free, the writer may lose control of the character, and the character may stubbornly decide against the writer's initial wish; or else the character reveals a motive that the writer never anticipated. This can hardly happen with what's called "creative nonfiction," despite the permissive adjective. The subject matter of non-fiction is fixed, chosen, unalterable. A nonfiction piece on the Civil War, say, can't change the nature of the battles; both action and outcome remain today what they were then. The writer may play around a bit with the personalities of Grant or Lee, but the spine of the narrative is immovable. As for the "personal" essay, the writer, like a character in fiction, can assert whatever she desires; as in fiction, she is immune to the fact-checker.
TM: What do you think it might take in order for a writer to produce a "great American novel" in today's literary landscape, or even one that has relevance and power beyond what it achieves in the insular writing community?
CO: How vast is the invisible infrastructure of this proposal! It puts in question an entire culture, and how a civilization expresses itself. Some say that the Great American Novel has already come into being, in The Great Gatsby, or in Moby-Dick, and a good case can be made for each of these. Dreiser's Sister Carrie might be another candidate, or The Scarlet Letter, or The Adventures of Augie March. Your query, though, speaks of the current literary landscape, confirming that "what it might take" still isn't clear. One answer might be that the day is young — but can we see any inkling of a presumptive heir to Bellow or Updike or Nabokov, or to so many others of the previous generation (the list would be long and impressive) who have left a formative mark on American experience? One sign, or omen, would be the presence of a writer of formidable language power, willing to use all the sources and resources of American prose; instead, we swim in a welter of the slipshod easy vernacular. Also absent, so far, is some overriding feeling or idea, or, at the least, something larger than pipsqueak cynicism. Finally, given that the country is roiling and boiling toward some unknown new dispensation grounded in narrow competing triumphalist claims, where is the bold and necessary ironist who will write our Death of Ivan Ilyich?
Or else, and why not? Maybe what we are waiting for will be the Great American Comic Novel! And a final caveat: the lineaments of a sublime work of the imagination can't, after all, be prescribed, and one is guilty (mea culpa!) of tendentious theorizing if one dares to do it.
TM: Is technology perhaps counterintuitive to to serious literary debate, analysis, and scholarship, or do you feel that it marks a sort of natural progression and provides a platform to showcase what writing has come to in the age of the iPhone?
CO: Last year I finally surrendered my pen. I could not conceive of writing seriously on a keyboard facing an illuminated rectangle, and used the computer mainly as a means of transcribing a completed work (as was the typewriter in the past). The keyboard and the monitor struck me as enemies of the freedom of language, since it seemed that the words could come only through the pressure of one's fingers on the narrow neck of a pen. Or to say it otherwise, the ink flowed directly out of the hand; and what was ink if not language? Yet now, as you see, I've learned (to my amazement) that one can actually think on a computer!
TM: In a culture of writers that either embrace the concept of direct narrative or a fractured storytelling structure, would the middle ground between the two extremes be something new to emerge, and if so, where does it lie?
CO: Either-or has never been storytelling's only available way; from early on, there has always been that "middle ground." Mostly it has been a companionship between fiction and an interpolated essay, side by side in the same novel. We see this in George Eliot and in E.M. Forster, where we hear the author's reflecting voice; it might be called the "intelligence" of the novel: intelligence in both senses, the writer spying on her characters, and the writer's mind exposed. The "fractured" novel (Ulysses is the great modernist instance, but think also of Zadie Smith's NW and Joshua Cohen's Book of Numbers) has so far not permitted amalgamation with any other form. Accretion, fragment by fragment, replaces logical chronology Yet despite its jagged unexpectedness, what fragmentation has in common with direct narrative is a paradoxical coherence: we know and feel what we are meant to know and feel. And if there is no middle ground between fragment and form, so be it: why should fiction, the ultimate territory of genuine freedom, eschew extremes? In life we are rightly persuaded to pursue the middle way. But in literature (three cheers for extremes!), what we want is what Kafka relentlessly demanded: A book must be the axe for the frozen sea within us.
TM: David Foster Wallace was an ardent fan of your work, citing The Puttermesser Papers as one of his favorite books. As a critic, writer, and cultural anthropologist, I wanted to know if you've considered the relevance of his work, and whether or not he shifted the direction of post-modern fiction yet again.
CO: It was an astonishment to be told not long ago that David Foster Wallace was even aware of my work, let alone had read any small part of it. It was even more startling to see a photo of the flyeaf of his copy of The Puttermesser Papers, on which appears a long list of words transcribed from the book, ostensibly because they were new to him. How could this be? If I hadn't with my own eyes seen that list, I would have thought the rumor of his affinity was no more than a hoax. After all, Infinite Jest is a free-wheeling and exuberantly abundant novel with a fervently reverent and always growing readership, and not only is my own experience as a writer lightyears from his, but in subject matter and in literary temperament Wallace and I have nothing in common. His mind is encyclopedic and digressive; my scope is far more limited and my reach into the world definitively tamer. His novels are termed postmodern, and so they are, but in their appetite for overflowing tangential inclusiveness they also resemble the all-devouring 18th-century novel (Richardson, Fielding, Sterne). And finally: Wallace's most original gesture is the art of the note — footnote and endnote, but especially footnote. Whether this alone (the seductive power of the asterisk) will "shift the direction of postmodern fiction" is doubtful. Once it has been done, and done so lavishly, it may seem superfluous to do it again.
TM: It seems that [The Puttermesser Papers] has a certain staying power, particularly among men. What do you think it is about the work that stands out, be it the brutality of the plot or the force of the prose?
CO: I’m afraid that I am unable to address this generous assessment of "staying power." Time will, as they say, tell; and in some cases — though certainly not in mine — Time has already told. (See David Foster Wallace above.) Most writers and their books quickly fall into posthumous eclipse, and I don't doubt that I will be among them.
TM: You said that fiction is the ultimate territory for genuine freedom, but is fiction not without rules? The novel can take many shapes, as can short stories, but there's still something familiar within each mutation. Would you argue that genuine freedom works best with some sort of familiarity to constrain or guide its line of thinking?
CO: I agree that familiarity of form is most conducive to the reader's comfort, and that feeling at home with its "rules" increases readerly enjoyment. Joyce's Ulysses, which (after, say, Dickens and George Eliot and Trollope) seemed to have no rules at all, was hard going for its earliest readers, though certainly not nowadays, when stream of consciousness has become commonplace. Eliot's The Waste Land was once dauntingly impenetrable; today its technique is ho-hum. The very concept of "rules" means familiarity, knowing what to expect; but even revolutions eventually evolve into the humdrum. As for constraining or guiding a line of thinking, isn't that for sermons and tracts?
TM: A large part of your fiction writing has involved chronicling the Jewish-American experience…
CO: Here I hope you will allow me to demur. This is certainly true of other Jewish writers, at least those who are inclined to contemplate their heritage; call it, though without denigrating its art, sociological fiction. I am altogether without interest in the Jewish-American "experience," if this term is intended, as you phrase it, to scrutinize and investigate the meaning of that identity, both how it plays out in conventional society and [the writers'] own personal heartbreak over legacy and fractured tradition. Again, all that is sociology, particularly the concern with identity and the deeper roots of the self. I am drawn elsewhere: to the Jewish metaphysic and its long and steadfast history. It is these grains of perception, I believe, that sustain my thinking and kindle imagination. (A recent story in this mode is “A Hebrew Sibyl,” which appeared in Granta.)
As for the sociological: Irving Howe, a stellar critic who was part of the group of literary luminaries who came to be known as The New York Intellectuals (all of them now nearly forgotten), once commented that after the generation of the immigrants, the American Jewish novel would die of lack of subject matter. And then — beware definitive declarations! — came the influx of those remarkable young writers who as children fled both the Soviet Union and Iran. For such embattled lives, having endured restriction and calumny in their earliest years, personal heartbreaks over legacy and fractured tradition may be vitally pertinent themes; or may not. But for American Jews, who for the first time in two millennia have the inconceivable good fortune of living freely and without overt fear, and who have rarely known an ounce of oppression or indignity, and who for the most part are now four or five generations distant from the immigrant period…for these, the identity question is simply another floating particle in the egalitarian multicultural movement. (Recall Irving Kristol's quip: "They used to want to kill us, now they want to marry us." And they have: 70 percent of American Jews are intermarried.) Those deeper roots of the self are more superficial than felt. When roots are genuinely deep, they are not scrutinized or investigated; they are as intrinsic and unremarked on as breathing. Self-knowledge in the Socratic sense is indifferent to roots, and Jewish self-knowledge can only mean knowledge, and what is knowledge in the absence of historical and textual and linguistic awareness? Which is why most novels by American Jewish writers are a branch of social studies. Nor would I quarrel with this: stories are free to be whatever they are.
TM: Writers who are conscious of coming from rich national and historical backgrounds tend to have their work characterized as being "haunted" by those important works of national or cultural identity that came before….Do you think it's appropriate to draw those comparisons on the basis of legacy and cultural background, or do you think there should be a distinction between what a writer of a certain background is looking to achieve, and how a critic or academic might group them based on previous works of a certain genre?"
CO: Well, we know what Saul Bellow thought of how critics and academics grouped him! He retorted with his famous quip — Hart, Schaffner & Marx, mocking how he and Roth and Malamud were, in effect, regarded as a kind of Jewish-owned haberdashery. But your question is serious and important, and we've had two elegant answers from two significant Jewish writers. Isaac Bashevis Singer: "Every writer needs to have an address." Harold Bloom: "The anxiety of influence." Both these succinct insights acknowledge that origins not only count, but continue to carry their force. (The term "haunted" confused and misled me because of its baleful resonances.) Criticism would be blind and deaf if it failed to recognize affinities and legacies, as it always has: in America, Transcendentalism, the Harlem Renaissance, naturalism, and so many other literary movements and groupings, whether conscious and voluntary or critically observed. But this doesn't make writers into pawns! Or turn Hawthorne and Melville, with their similar Anglo heritage, into Siamese twins! Or Bellow, Roth, and Malamud into Jewish clothiers. It's a sublime paradox, sublime because the seeming contradiction fortifies rather than diminishes: every writer is a piece of the continent, a part of the main; and yet, contra Donne, every writer is at the same time an island entire of itself. The continent is humanity; but every continent contains someone's own home address.
TM: At this point in your career…do you feel any differently about your work, either the work you're developing or the work you've done? Do you feel that your role as a writer has taken on any sort of prominence?
CO: My diary with its innate depression contains the felt truth of any answer I might give. I have been driven to write — to be a writer — from a very early age, but have never been able to think of it as a "career," a schemer's word that suggests aggrandizing hot pursuit. And for a very long time I was unpublished, a failure in my own literary generation: a circumstance that has left its mark. I am always surprised to discover a reader, and when I do, it is usually in the context of "I never heard of her before." As for what I feel about past work, I wish I had done more. And I begin to wonder whether reviewers who have found my novels unsympathetic may be right. I still hope to write a story made purely of feeling.
TM: Are you working on anything now that you're hoping to release?
CO: Yes. On a story made purely of feeling.
TM: Can you elaborate on what you mean by this?
CO: This brings us instantly back to Tolstoy, though I am thinking here not of a novel, but rather of a story: The Death of Ivan Ilych, wherein ultimate aloneness in the face of imminent dying leads to a kind of catharsis, and revelation overcomes dread. Or the haying scene in Anna Karenina, which envelops the reader in bodily joy and the intense companionship of laborious achievement. On second thought, an entire novel can't be made purely of feeling, since such sublime moments are exactly that: moments. Pure feeling mostly occurs at the extremes of life: terror and joy.
The Book Report: Episode 28: ‘As I Lay Dying’ and ‘The Scarlet Letter’
Welcome to a new episode of The Book Report presented by The Millions! This week, Janet and Mike present the second installment of Back 2 School, in which they read books they never got around to reading in high school. This time, Janet slogs through Nathaniel Hawthorne's The Scarlet Letter, and Mike has a much better time with William Faulkner's As I Lay Dying.
Discussed in this episode: pet names, dark humor, the Coen Brothers, unembalmed corpses, Weekend at Bernie's (dir. Ted Kotcheff), Dune by Frank Herbert, boring-ass love affairs, pale trembling men, sex scenes, Hester Prynne, pastors, The Martian by Andy Weir, Colin Dickey.
Discussed in this episode but cut for time: Mike making fun of Colin Dickey for 47 straight minutes. Don't worry. It'll be an extra on the DVD.
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