“For years the old Italians have been dying/all over America.” -Lawrence Ferlinghetti
On the second floor of Harvard’s Fogg Museum, in an airy, well-lit, white-walled gallery, near a slender window overlooking a red-bricked Cambridge street, there is a display case holding three portraits on chipped wood not much bigger than post-cards. Of varying degrees of aptitude, the paintings are of a genre called “Fayum Portraits” from the region of Egypt where they’re commonly found. When the Roman ruling class established itself in this Pharaonic land during the first few centuries of the Common Era, they would mummify themselves in the Egyptian fashion while affixing Hellenistic paintings onto the faces of their preserved bodies. Across the extent of the Roman empire, from damp Britain to humid Greece, little of the more malleable painted arts survived, but in sun-baked Egypt these portraits could peer out 20 centuries later as surely as the desert dried out their mummified corpses. When people envision ancient Mediterranean art, they may think of the grand sculptures blanched a pristine white, Trajan’s Arch and the monumental head of Constantine, the colorful paint which once clung to their surfaces long since eroded away. And while the monumental marbles of classical art are what most people remember of the period, the Fayum portraits of Harvard provide an entirely more personal gaze across the millennia.
If white is the color we associate with those sculptures, then the portraits here in Cambridge are of a different hue. They are nut-brown, tanned from the noon-day sun, yellow-green, and olive. Mummy Portrait of a Woman with an Earring, painted in the second century, depicts in egg tempura on wood a dark-skinned middle-aged woman with commanding brown eyes, her black hair showing a bit of curl even as it is pulled back tightly on her scalp; a woman looking out with an assuredness that belies her anonymity over time. Mummy Portraits of a Bearded Man shows the tired look of an old man, grey beard neatly clipped and groomed, his wavy grey hair still with a hint of auburn and combed back into place. Fragments of a Mummy Portrait of a Man represents a far younger man, cleft chinned with a few days’ black stubble over his olive skin. What’s unnerving is the eerie verisimilitude of this nameless trio.
That they look so contemporary, so normal, is part of what’s unsettling. But they also unsettle because they’re there to assist in overturning our conceptions about what Roman people, those citizens of that vast, multicultural, multilingual, multireligious empire, looked like. Our culture is comfortable with the lily-white sculptures we associate with our Roman forebearers which were then imitated in our own imperial capitals; easier to pretend that the ancient Romans had nothing to do with the people who live there now, and yet when looking at the Fayum portraits I’m always struck by how Italian everybody looks.
The old man could be tending tomatoes in a weedy plot somewhere in Trenton; the middle-aged woman wearily volunteering for a church where she’s not too keen on the new Irish priest, and the young man with the stubble looks like he just got off a shift somewhere in Bensonhurst and is texting his friends to see who wants to go into the city. I’ve never seen anyone who actually looks like the statue of Caesar Augustus of Primo Porta carved from white stone, but you’ll see plenty of people who look like the Fayum Portraits in North Boston, Federal Hill, or Bloomfield (the one either in Jersey or in Pittsburgh). When I look at the Fayum portraits, I see people I know; I see my own family.
Despite my surname vowel deficiency, I’m very much Italian-American. Mathematically, twice as much as Robert DeNiro, so I feel well equipped to offer commentary in answering the question with which I’ve titled this piece. Furthermore, as a second-generation American, I’m not that far removed from Ellis Island. My mother’s father immigrated from Abruzzo, that mountainous, bear-dwelling region that was the birthplace of Ovid, and his entire family and much of his fellow villagers were brought over to Westmoreland County, Pennsylvania, to work as stone masons, a trade they’d been plying since the first rock was laid in the Appian Way. My grandmother’s family was from Naples, where Virgil was born, a teeming volcanic metropolis of orange and lemon trees, a heaven populated by devils as native-son Giordano Bruno wrote in the 16th century. For me, being Italian was unconscious; it simply was a fact no more remarkable than my dark hair or brown eyes.
Being Italian meant at least seven fishes on Christmas Eve and the colored lights rather than the white ones on the tree, it meant (and still means) cooking most things with a heavy dollop of olive oil and garlic, it means at least once a week eating either veal parmesan, prosciutto and melon, calamari, spaghetti with tuna, and buffalo mozzarella with tomatoes. Being Italian meant laminated furniture in the homes of extended family, and Mary-on-the-half-shell; it meant a Catholicism more cultural than theological, with the tortured faces of saints vying alongside a certain type of pagan magic. Being Italian meant assumed good looks and a certain ethnic ambiguity; it meant uncles who made their own wine and grew tomatoes in the backyard.
Being Italian-American meant having an identity where the massive pop culture edifice that supplies representations of you implies that the part before the hyphen somehow makes the second half both more and less true. My position was much like Maria Laurino’s in Were You Always an Italian?: Ancestors and Other Icons of Italian America, where she writes that “All the pieces of my life considered to be ‘Italian’…I kept distinct from the American side, forgetting about the hyphen, about that in-between place where a new culture takes form.” What I do viscerally remember is the strange sense I had watching those corny old sword-and-sandal epics that my middle school Latin teacher used to fill up time with, a sense that those strangely Aryan Romans presented on celluloid were supposed to somehow be related to me. Actors whose chiseled all-American whiteness evoked the marbles that line museum halls. Sculptures of Caesar Augustus were once a lot more olive than white as well. That classical Greek and Roman statuary was vividly painted, only to fade over time, has been known since the 19th century, even as contemporary audiences sometimes violently react to that reality. Using modern technology, archeologist Vinzenz Brinkmann has been able to restore some of the most famous Greek and Roman statues to glorious color, as he details in his Gods in Color: Polychromy in the Ancient World, but as the classicist Sarah Bond writes in Forbes, “Intentional or not, museums present viewers with a false color binary of the ancient world.” We think of the Romans as lily white, but the Fayum portraits demonstrate that they very much weren’t. That the individuals in these pictures should appear so Italian shouldn’t be surprising—Romans are Italians after all. Or at least in the case of the Fayum portraits they’re people from a mélange of backgrounds, including not just Romans, but Greeks, Egyptians, Berbers, Arabs, Jews, Ethiopians, and so on. Rome was, like our own, a hybridized civilization, and it’s marked on the faces that peer out towards us on that wall.
Last fall, at a handful of Boston-area colleges just miles from the museum, classical imagery was appropriated for very different means. Students awoke to find their academic halls papered with posters left during the night by members of one of these fascistic groups to have emerged after the 2016 presidential election, a bigotry that has been revealed as if discovering all of the fungus growing underneath a rotting tree stump that’s been kicked over. This particular group combined images of bleached classical sculpture and neo-fascist slogans to make their white supremacist arguments. The Apollo Belvedere is festooned with the declaration “Our Future Belongs to Us,” 17th-century French Neo-Classical sculptor Nicolas Coustou’s bust of Julius Caesar has “Serve your People” written beneath it, and in the most consciously Trumpy of posters, a close-up on the face of Michelangelo’s David injuncts “Let’s Become Great Again.” There’s something particularly ironic in commandeering the David in the cause of white supremacy. Perhaps they didn’t know that that exemplar of the Italian Renaissance was a depiction of a fierce Jewish king as rendered by a gay, olive-skinned artist?
Such must be the central dilemma of the confused white supremacist, for the desire to use ancient Rome in their cause has been irresistible ever since Benito Mussolini concocted his crackpot system of malice known as fascismo corporativo, but the reality is that the descendants of those very same Romans often don’t appear quite as “white” as those supremacists would be comfortable with. This is especially important when considering that the Romans “did not speak in terms of race, a discourse invented many centuries later,” as scholar Nell Irvin Painter writes in The History of White People. Moral repugnance is a given when it comes to racist ideologies, but one should also never forget the special imbecility that comes along with arguing that you’re innately superior because you kinda, sorta, maybe physically resemble dead people who did important things. What makes the case of the posters more damning is that those who made them don’t even actually look like the people whose culture they’ve appropriated.
No doubt the father of celebrated journalist Gay Talese would be outraged by this filching. In a 1993 piece for The New York Times Book Review, he remembers his “furious and defensive father” exploding after he’d learned that the Protestant-controlled school board had rejected his petition to include Ovid and Dante in the curriculum, the elder man shouting at his son that “‘Italy was giving art to the world when those English were living in caves and painting their faces blue!’” A particular twist as the descendants of those same WASPs paper college campuses with posters of Italian sculptures that they somehow claim patrimony from. But that’s always been the predicament of the Western chauvinist, primed to take ownership over another culture as evidence of his own genius, while simultaneously having to explain his justifications for the disdain in which he holds the actual children of that culture.
Since the late 19th-century arrival of millions of immigrants from the Mezzogiorno, American racists have long contrived baroque justifications for why white Anglo-Saxon Protestants are the inheritors of Italian culture, while Italians themselves are not. Some of this logic was borrowed from Italy itself, where even today, Robert Lumley and Jonathan Morris record in The New History of the Italian South, some northerners will claim that “Europe ends at Naples. Calabria, Sicily, and all the rest belong to Africa.” Northern Italians, comparatively wealthier, better educated, and most importantly fairer, had been in the United States a generation before their southern cousins, and many Anglo-Americans borrowed that racialized animus against southerners which reigned (and still does) in the old country.
As Richard Gambino writes in Blood of my Blood: The Dilemma of the Italian-Americans, it was in the “twisted logic of bigotry” that these immigrants were “flagrantly ‘un-American.’ And Italians replaced all the earlier immigrant groups as targets of resentment about the competition of cheap labor.” This was the reasoning that claimed that all Italian accomplishments could be attributed to a mythic “Nordic” or “Teutonic” influence, so that any Mediterranean achievements were written away, orienting Rome towards a Europe it was only tangentially related to and away from an Africa that long had an actual influence. Notorious crank Madison Grant in his unabashedly racist 1916 The Passing of the Great Race claimed that Italians were now “storming the Nordic ramparts of the United States and mongrelizing the good old American stock,” with Gambino explaining that “In his crackpot explanation, Italians are the inferior descendants of the slaves who survived when ancient Rome died.”
Paleontologist Stephen Jay Gould writes that Grant’s book was “the most influential tract of American scientific racism” and Adolf Hitler wrote a letter to the author claiming “The book is my Bible.” A lawyer and eugenicist, Grant’s writings were influential in both the Palmer Raids, a series of unconstitutional police actions directed by the Wilson administration against immigrants suspected of harboring anarchist and communist sympathies, as well as the xenophobic nastiness of the 1924 Johnson-Reed Act which made eastern and southern European immigration slow to a trickle. Incidentally, it was the Johnson-Reed Act that, had it been passed 10 years earlier, would have barred my mother’s father from entering the United States; a law that former Attorney General Jefferson Beauregard Sessions lauded in a 2017 interview with Stephen Bannon, arguing that the banning of immigrants like those in my family “was good for America.”
In Chiaroscuro: Essays of Identity, Helen Barolini writes that “Italian Americans are too easily used as objects of ridicule and scorn,” and while that’s accurate, it’s a rhetoric that has deep and complicated genealogies. Italy has always occupied a strange position in the wider European consciousness. It is simultaneously the birthplace of “Western Civilization,” and an exoticized, impoverished, foreign backwater at the periphery of the continent; the people who first modeled a noxious imperialism, and the subjugated victims of later colonialism. A pithy visual reminder of Italy’s status in early modern Europe can be seen in the German painter Hans Holbein the Younger’s 1533 masterpiece The Ambassadors, which depicts two of the titular profession surrounded by their tools. On a shelf behind them sits a globe. Europe is differentiated from the rest of the world by being an autumnal brown-green, with the exception of two notable regions colored the same hue as Africa—Ireland and Sicily. In Are Italians White?: How Race is Made in America, coedited with Salvatore Salerno, historian Jennifer Guglielmo explains that the “racial oppression of Italians had its root in the racialization of Africans,” something never more evident than in the anti-Italian slur “guinea” with its intimations of Africanness, this implication of racial ambiguity having profound effects on how Italians were understood and how they understood themselves.
In the rhetoric and thought of the era, Italy was somehow paradoxically the genesis of Europe, while also somehow not European. As such, Italians were to be simultaneously emulated and admired, while also reviled and mocked. During that English Renaissance, which was of course a sequel to the original one, books like Baldassare Castiglione’s The Courtier and Niccolò Machiavelli’s The Prince, with their respective paeans to sensuality and duplicity, molded a particular view of Italianness that has long held sway in the English imagination. Consider all of the Shakespeare plays in an imagined Italy: The Taming of the Shrew, Two Gentleman of Verona, Much Ado About Nothing, Romeo and Juliet, Julius Caesar, Titus Andronicus, Othello, Coriolanus, The Winter’s Tale and The Merchant of Venice, not to mention the occasional appearance of Romans in other plays. Shakespeare’s plays, and other icons of the English Renaissance, set a template that never really faded. A simultaneous attraction to and disgust at a people configured as overly emotional, overly sexual, overly flashy, overly corrupt, overly sensual, and with a propensity less cerebral than hormonal. And the criminality.
Long before Mario Puzo or The Sopranos, Renaissance English writers impugned Italians with a particular antisocial perfidy. Such is displayed in Thomas Nash’s 1594 The Unfortunate Traveller: or, the Life of Jack Wilton, which could credibly be called England’s first novel. In that picaresque, the eponymous character perambulates through the Europe of the early 16th century, encountering luminaries like Thomas More, Erasmus, Henry Howard, Martin Luther, and Cornelius Agrippa, and witnessing events like the horrific siege at Munster in the Low Countries. Most of Nash’s narrative, however, takes place in “the Sodom of Italy,” and an English fever dream of that country’s excess settles like a yellow fog. One Englishmen laments that the only lessons that can be learned here are “the art of atheism, the art of epicurizing, the art of whoring, the art of poisoning, the art of sodomitry.”
From Nash until today there has often been a presumption of vindictive relativist morality on the part of Italians, and it has slurred communities with an assumption of criminality. In the early 20th century sociologists claimed that the dominant Italian ethic was “familial amoralism,” whereby blood relations had precedence over all other social institutions. Nash’s nobleman is the great-grandfather to Michael Corleone in the collective imagination. Do not read this as squeamish sensitivity, I’d never argue that The Godfather, written and directed by Italians, is anything less than an unmitigated masterpiece. Both Puzo’s novel and Francis Ford Coppola’s adaptation are potent investigations of guilt, sin, and evil. I decided not to join the Sons of Italy after I saw how much of their concern was with stereotypes on The Sopranos, which I still regard as among the greatest television dramas of all time. I concur with Bill Tonelli, who in his introduction to The Italian American Reader snarked that “nobody loves those characters better than Italian Americans do,” and yet I recall with a cringe the evaluation of The Godfather given to me by a non-Italian, that the film was about nothing more than “spaghetti and murder.”
Representations of Italianness in popular culture aren’t just Michael Corleone and Tony Soprano, there’s also the weirdly prevalent sitcom stereotype of the lovable, but dumb, hypersexual goombah. I enter into consideration Arthur “The Fonze” Fonzarelli from Happy Days, Tony Micelli from Who’s the Boss?, Vinny Barbarino of Welcome Back Kotter, and of course Friends’ Joey Tribbiani. Once I argued with my students if there was something offensive about The Jersey Shore, finally convincing them of the racialized animus in the series when I queried as to why there had never been an equivalent about badly behaving WASPs called Martha’s Vineyard?
Painter explains that “Italian Americans hovered longer on the fringes of American whiteness,” and so any understanding must take into account that until recently Italians were still inescapably exotic to many Americans. Tonelli writes that “in an era that supposedly values cultural diversity and authenticity, the portrait of Italian Americans is monotonous and observed from a safe distance.” The continued prevalence of these stereotypes is a residual holdover from the reality that Italians are among the last of “ethnics” to “become white.” Tonelli lists the “mobsters, the urban brute, the little old lady shoving a plate of rigatoni under your nose,” declaiming that “it gets to be like a minstrel show after a while.”
Consider Judge Webster Thayer who after the 1921 sham-trial of anarchists Barolomeo Vanzetti and Nicola Sacco would write that although they “may not have committed the crime” attributed to them, they are “nevertheless morally culpable” because they were both enemies of “our existing institutions… the defendant’s ideals are cognate with crime.” Privately, Thayer bragged to a Dartmouth professor, “Did you see what I did to those anarchistic bastards the other day?” As late as 1969, another professor, this one at Yale, felt free to tell a reporter in response to a query about a potential Italian-American New York mayoral candidate that “If Italians aren’t actually an inferior race, they do the best imitation of one I’ve seen.”
But sometime in the
decades after World War II, Italians followed the Irish and Jews into the
country club of whiteness with its carefully circumscribed membership. Guglielmo
explains that initially “Virtually all Italian immigrants [that] arrived in the
United States [did so] without a consciousness about its color line.” Victims
of their birth nation’s rigid social stratification based on complexion and geography,
the new immigrants were largely ignorant of America’s racial history, and thus
were largely immune to the anti-black racism that was prevalent. These
immigrants had no compunction about working and living alongside African
Americans, and often understood themselves to occupy a similar place in
But as Guglielmo explains, by the second and third generation there was an understanding that to be “white meant having the ability to avoid many forms of violence and humiliation, and assured preferential access to citizenship, property, satisfying work, livable wages, decent housing, political power, social status, and a good education, among other privileges.” Political solidarity with black and Hispanic Americans (we forget that Italians are Latinx too) was abandoned in favor of assimilation to the mainstream. Jennifer Gillan writes in the introduction to Growing up Ethnic in America: Contemporary Fiction about Learning to be American that “American have often fought bitter battles over what it means to be American and who exactly get to qualify under the umbrella term,” and towards the end of the 20th century Italians had fought their way into that designation, but they also left many people behind. In the process, a beautiful radical tradition was forgotten, so that we traded Giuseppe Garibaldi for Frank Rizzo, Philly’s racist mayor in the 70s; so that now instead of Sacco and Vanzetti we’re saddled with Antonin Scalia and Rudy Giuliani. As Guglielmo mourns, “Italians were not always white and the loss of this memory is one of the great tragedies of racism in America.”
If there is to be any anecdote, then it must be in words; where literature allows for imaginative possibilities and the complexities of empathy. What is called for is a restitution, or rather a recognition, of an Italian-American literary canon acting as bulwark against both misrepresentations and amnesia. Talese infamously asked if there were no “Italian-American Arthur Millers and Saul Bellows, James Baldwins and Toni Morrisons, Mary McCarthys and Mary Gordons, writing about their ethnic experiences?” There’s an irony to this question, as Italians in the old country would never think to ask where their writers are, the land of Virgil and Dante secure in its literary reputation, with more recent years seeing the celebrated post-modernisms of Italo Calvino, Primo Levi, Dario Fo, and Umberto Eco. In this century, the citizens of Rome, Florence, and Milan face different questions than their cousins in Newark, Hartford, or Providence. Nor do we bemoan a dearth of examples in other fields: that Italians can hit a baseball or throw a punch can be seen in Joe DiMaggio’s homeruns and Rocky Marciano’s slugging; that we can strike a note is heard in Frank Sinatra and Dean Martin; that we can shoot a picture is proven by Coppola, Brian DePalma, and Martin Scorsese.
Yet in the literary arts no equivalent names come up, at least no equivalent names that are thought of as distinctly Italian. Regina Barreca in the introduction to Don’t Tell Mama!: The Penguin Book of Italian American Writing says that there is an endurance of the slur which sees Italians as “deliberately dense, badly educated, and culturally unsophisticated.” By this view the wider culture is fine with the physicality of boxers and baseballs players, the emotion and sensuality of musicians, even the Catholic visual idiom of film as opposed to the Protestant textuality of the written word, so that the “intellectual” pursuits of literature are precluded. She explains that what remains is an “idea of Italian Americans as a people who would never choose to read a book, let alone write one,” though as Baraca stridently declares this is a “set of hazardous concepts [which] cannot simply be outlived; it must be dismantled.”
I make no claims to originating the idea that we must establish an Italian-American literary canon, such has been the mainstay of Italian-American Studies since that field’s origin in the ’70s. This has been the life’s work of scholars like Gambino, Louise DeSalvo, and Fred Gardaphé, not to mention all of the anthology editors I’ve referenced. Tonelli writes that “Our time of genuine suffering at the hands of this bruising country passed more or less unchronicled, by ourselves or anyone else,” yet there are hidden examples of Italian-American voices writing about an experience that goes beyond mafia or guido stereotypes. For many of these critics, the Italian-American literary canon was something that already existed, it was merely a question of being able to recognize what exists beyond the stark black and red cover of The Godfather. Such a task involved the elevation of lost masterpieces like Pietro di Donato’s 1939 proletarian Christ in Concrete , but also a reemphasis on the vowels at the ends of names for authors who are clearly Italian, but are seldom thought of as such.
That Philip Roth is a Jewish author goes without saying, but rarely do we think of the great experimentalist Don DeLillo as an Italian-American author. A restitution of the Italian-American literary canon would ask what precisely is uniquely Italian about a DeLillo? For that matter, what are the Italian-American aesthetics of poets like Lawrence Ferlinghetti, Jay Parini, Diane Di Prima, and Gregory Corso? What can we better say about the Italianness of Gilbert Sorrentino and Richard Russo? Where do we locate the Mezzogiorno in the criticism and scholarship of A. Bartlett Giamatti, Frank Lentricchia, and Camille Paglia? Baraca writes that “Italian Americans live (and have always lived) a life not inherited, but invented,” and everything is to be regained by making a reinvention for ourselves. Furthermore, I’d suggest that the hybridized nature of what it has always meant to be Italian provides a model to avoid the noxious nationalisms that increasingly define our era.
Guglielmo writes that “Throughout the twentieth century, Italian Americans crafted a vocal, visionary, and creative oppositional culture to protest whiteness and build alliances with people of color,” and I’d argue that this empathetic imagination was born out of the pluralistic civilization of which the Italians were descendants. Contrary to pernicious myths of “racial purity,” the Romans were as diverse as Americans are today, drawing not just from Italic peoples like the Umbrians, Sabines, Apulians, and Etruscans, but also from Egyptians, Ethiopians, Berbers, Carthaginians, Phoenicians, Greeks, Anatolians, Gauls, Huns, Dacians, Franks, Teutons, Vandals, Visigoths, Anglo-Saxons, Normans, Iberians, Jews, Arabs, and Celts, among others. A reality quite contrary to the blasphemy of those posters with their stolen Roman images.
Rome was both capital and periphery, a culture that was a circle with no circumference whose center can be everywhere. Christine Palamidessi Moore in her contribution to the Lee Gutkind and Joanna Clapps Herman anthology Our Roots are Deep with Passion: Creative Nonfiction Collects New Essays by Italian American Writers notes that “Italy is a fiction: a country of provinces, dialects, and regions, and historically because of its location, an incorporator of invaders, empires, and bloodlines.” Sitting amidst the Mare Nostrum of its wine-dark sea, Italy has always been at a nexus of Europe, Africa, and Asia, situated between north and south, east and west. Moore explains that the “genuineness of the ethnicity they choose becomes more obscure and questionable because of its mixed origins; however, because it is voluntary, the act of choosing sustains the identity.”
The question then is not “What was Italian America?” but rather “What can Italian America be?” In 1922 W.E.B. DuBois, the first black professor at Harvard, spoke to a group of impoverished Italian immigrants at Chicago’s Hull House. Speaking against the Johnson-Reed Act, DuBois appealed to a spirit of confraternity, arguing that there must be a multiethnic coalition against a “renewal of the Anglo-Saxon cult: the worship of the Nordic totem, the disenfranchisement of Negro, Jew, Irishman, Italian, Hungarian, Asiatic and South Sea Islander.” When DuBois spoke against the “Anglo-Saxon cult” he condemned not actual English people, but rather the fetish that believes only those of British stock can be “true Americans.” When he denounced the “Nordic totem,” he wasn’t castigating actual northern Europeans, but only that system that claims they are worthier than the rest of people. What DuBois condemned was not people, but rather a system that today we’ve taken to calling “white privilege,” and he’s just as correct a century later. The need for DuBois’s coalition has not waned.
Italian-Americans can offer the example of a culture that was always hybridized, always at the nexus of different peoples. Italians have never been all one thing or the other, and that seems to me the best way to be. It’s this liminal nature that’s so valuable, which provides answer to the idolatries of ancestry that are once again emerging in the West (with Italy no exception). DuBois offered a different vision, a coalition of many hues marshaled against the hegemony of any one. When I meet the gaze of the Fayum portraits, I see in their brown eyes an unsettling hopefulness from some 20 centuries ago, looking past my shoulder and just beyond the horizon where perhaps that world may yet exist.
In October 2015, Hogarth Press from Crown Publishing launched the Hogarth Shakespeare project, an anticipated eight-part series in which best-selling authors retell a Shakespearean classic as a contemporary novel. Jeanette Winterson’s cover of The Winter’s Tale—A Gap of Time—was published first, almost exactly 400 years after the Bard’s death. Five more installments have since been released, with the final one—Gillian Flynn’s cover of Hamlet—expected in 2021.
Contemporizing a Shakespearean play is a fairly common undertaking. As the Hogarth Shakespeare’s website notes, Shakespeare’s works have frequently “been reinterpreted for each new generation, whether as teen films, musicals, science-fiction flicks, Japanese warrior tales, or literary transformations.” Reimagining a Shakespearean story can often be a contentious effort as well. Many critics note the difficulty of believably translating a Shakespearean conflict—written centuries before the study of psychology—into a modern setting. Supporters, meanwhile, will often point to William Shakespeare himself and his own aptness to adapt and revise stories from various sources.
Regardless of one’s personal thoughts on Shakespearean adaptations, it is hard to overlook their significance to our cultural canon, from musicals like West Side Story and Kiss Me, Kate to films such as 10 Things I Hate About You and She’s the Man. Even having the original texts set in modern circumstances can be incredibly influential and timely, with the Public Theatre’s recent production of Julius Caesar—in which Caesar was modeled after Donald Trump—being the most notorious recent example.
As a lover of both Shakespearean drama and contemporary literature, I am an ardent follower of the Hogarth Shakespeare project. However, my interest in the project stems not from a desire to see creatively adapted Shakespearean plots; but, rather, an interest in seeing Shakespearean stories used to examine contemporary political, social, and cultural issues.
Each book in the series thus far has had varying success with this. Jeanette Winterson uses her cover of The Winter’s Tale to examine the devastating effects of hyper-masculinity and violence against women, as well as the normalcy of homoeroticism. Shylock Is My Name—Howard Jacobson’s cover of The Merchant of Venice—uses both Shylock himself and his modernized counterpart, Simon Strulovitch, to examine the past and present expectations of Jewish identity. In Anne Tyler’s Vinegar Girl, her cover of The Taming of the Shrew, the Petruchio character attempts to woo Kate into marriage so that he can avoid deportation. The most meta cover version—Margaret Atwood’s Hag-Seed—has the Prospero character produce The Tempest in a prison. This Tuesday marked the release of Edward St. Aubyn’s Dunbar—his cover of King Lear—which sees Lear reimagined as the head of an international media corporation.
Edward St Aubyn’s novel, however, was preceded by Tracy Chevalier’s New Boy, her cover of Othello and Hogarth’s first modernization of a Shakespearean tragedy. Chevalier’s retelling takes place over the course of a single day on a predominantly white elementary school playground, in which Ian, the playground bully, schemes to break up the budding relationship between Osei—a new student originally from Ghana—and Dee, a popular white student.
When it comes to contemporizing Shakespeare, Othello tends to be considered one of the most substantial texts to view through a modern lens, generally accompanied by The Merchant of Venice. Although Shylock is presented as the villain of Merchant, the anti-Semitism he experiences allows for a modern writer to examine Shylock’s personal tragedy as a victim of discrimination. Meanwhile, although race is not specifically mentioned as incentive for Iago’s escalating schemes against Othello, the implicit racial politics of both Othello’s interracial marriage to Desdemona and his military success as a man of color provide plenty of contemporary subjects for a modern author to examine. In his recent piece for The New York Times, “Shylock and Othello in the Time of Xenophobia,” Shaul Bassi writes, “If throughout the 20th century ‘Hamlet’ and ‘King Lear’ vied for the title of most topical political allegory, in the new millennium ‘The Merchant of Venice’ and ‘Othello’ are the plays that make Shakespeare our contemporary.”
The fatal misstep of New Boy, then, comes from the fact that Chevalier chose to set her retelling in 1974 Washington D.C., only 10 years after the signing of the Civil Rights Act and, from Bassi’s perspective, before Othello truly became the relevant allegory that it is today. There are only a few choice nods to early 1970s pop culture such as hippies, Oldsmobiles, and Roberta Flack, and only one fleeting reference is made to Watergate (despite impeachment proceedings presumably taking place minutes away from the playground). Instead, the main aspect of New Boy that gives it a sense of time is the overtness of the racism that it exhibits. Teachers are frequently overheard discussing Osei, expressing their relief that he isn’t in their classroom, sayings things like “This school isn’t ready for a black boy,” and commenting that Osei has given Dee “a taste for chocolate milk.” Osei and Dee’s teacher, a rumored Vietnam War veteran, functions primarily as a racist stock character, lashing out at Osei for minor infractions by calling him “boy” and telling him to watch himself. His arc appears in the final pages of the book, when he drops the novel’s one predictable and unnecessary n-word, as he yells to Osei to get off of the jungle gym.
Chevalier’s descriptions tend to hinder her storytelling as well. The most significant example of this is in her characterization of Osei’s sister, Sisi, who has begun to follow the Black Panther party back in New York. Her empowerment is described at one point as an “angry black girl performance,” and she is subsequently described as angry so often that her character appears flat and stereotyped. Chevalier’s writing can also begin to feel heavy-handed, with six instances in which characters start to call Osei black before stopping mid-word to correct themselves. Even with this occasional interruption, the word “black” is used so often that it begins to feel artificial and excessive. In Act IV, Chevalier writes:
[Osei] did not want to confront her, to have her get in his face, talking to him, telling more lies, treating him like her boyfriend, and then like the black boy on a white playground. The black sheep, with a black mark against his name. Blackballed. Blackmailed. Blacklisted. Blackhearted. It was a black day.
So how is it that Hogarth’s cover of The Merchant of Venice was so successful, while their Othello cover fell so flat? The answer appears to be because of writers that were assigned to them. Howard Jacobson is a Jewish novelist best known for writing about the struggles of Jewish characters. Jacobson reportedly asked to cover other plays before being assigned Merchant, indicating that Hogarth thoughtfully assigned the play knowing that he would modernize it in a provocative way. Meanwhile, Tracy Chevalier is a white woman best known for The Girl with the Pearl Earring, set in the Dutch Golden Age, which bares little resemblance to the conflicts of Othello. When asked in an promotional interview for Hogarth as to what attracted her to the text, Chevalier likened Othello’s otherness to that of hers living as an expat in Great Britain.
White writers opting to write about a time in the recent past when racism was more deliberate is not uncommon. Abandoning a nuanced discussion of micro-aggressions, structural and institutional racism, and white supremacy in favor of explicit and often dated racial language often simplifies the writing process, and keeps white audiences comfortable as they read. In a similar critique of Hollywood, Kara Brown noted in Jezebel last year, “Right now, Americans are only comfortable with a certain type of black person onscreen.” Although Chevalier occasionally hints at the possibility of a more complex discussion of micro-aggressions—the principal congratulates Osei on being “articulate” before telling the class to welcome him even though he is a “less fortunate” student, despite his father being a diplomat—she ultimately shies away from it.
Alternatively, in A Gap of Time, Jeanette Winterson uses her own background to add to her source material and intensify the text’s conflict. In The Winter’s Tale, King Leontes rather unexplainably believes that his friend King Polixenes is having an affair with his wife, Hermione. In A Gap of Time, Winterson—known for her autobiographical writing on LGBT issues—creates a previous affair between her Leontes and Polixenes, which, as Dean Bakopoulos points out in his New York Times review of the novel, “makes Leo’s overblown rage and irrational envy at the outset even more credible than it is in the original.” Therefore, although The Winter’s Tale isn’t usually listed with The Merchant of Venice and Othello as one of Shakespeare’s most politically relevant plays, Winterson’s unique additions make it more successful adaptation than Chevalier’s take on Othello, which idly favors a more overt racism than what is featured in her source text.
The choices of writers in many cases have led to fascinating twists on Shakespeare’s works, namely Jacobson’s parallel Shylocks in Shylock is My Name and Jeanette Winterson’s gay undertones in A Gap of Time. However, in a 2015 New York Times article detailing the Hogarth Shakespeare project, Alexandra Alter wrote that Winterson’s cover was, “a promising start to an ambitious new series from Hogarth, which has assembled an all-star roster of stylistically diverse writers to translate Shakespeare’s timeless plays into prose.” As the series has gained more traction, it is hard not to notice the word “stylistically” here. Although the writings of the Hogarth team are stylistically varied, their biographies are less so. Three of the writers are American and three are British, leaving Margaret Atwood (who is Canadian) and Norwegian writer Jo Nesbø, whose cover of Macbeth is expected next year. All eight writers are white—five women and three men—with only one under the age of 50 (Flynn is 46), and three writers in their 70s. Although each author did achieve some success within their own adaptation, imagine how rewarding the series would have been had it featured writers whose backgrounds varied more drastically from Shakespeare himself. It is disappointing when a project aims to see “the Bard’s plays retold by acclaimed, bestselling novelists and brought to life for a contemporary readership,” yet the writers selected are not ultimately representative of all that contemporary society has to offer.
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We think it’s safe to say last year was a big year for the book world. In addition to new titles by Harper Lee, Jonathan Franzen, and Lauren Groff, we got novels by Ottessa Moshfegh, Claire Vaye Watkins, and our own Garth Risk Hallberg. At this early stage, it already seems evident this year will keep up the pace. There’s a new Elizabeth Strout book, for one, and a new Annie Proulx; new novels by Don DeLillo, Curtis Sittenfeld, Richard Russo and Yann Martel; and much-hyped debut novels by Cynthia D’Aprix Sweeney and Callan Wink. There’s also a new book by Alexander Chee, and a new translation of Nobel Prize-winner Herta Müller. The books previewed here are all fiction. Our nonfiction preview is available here.
While there’s no such thing as a list that has everything, we feel certain this preview — at 8,600 words and 93 titles — is the only 2016 book preview you’ll need. Scroll down to get started.
My Name Is Lucy Barton by Elizabeth Strout: The latest novel from the Pulitzer Prize-winning author of Olive Kitteridge centers on a mother and daughter’s tumultuous relationship. In a starred review, Kirkus reports: “The eponymous narrator looks back to the mid-1980s, when she goes into the hospital for an appendix removal and succumbs to a mysterious fever that keeps her there for nine weeks. The possible threat to her life brings Lucy’s mother, from whom she has been estranged for years, to her bedside — but not the father whose World War II–related trauma is largely responsible for clever Lucy’s fleeing her impoverished family for college and life as a writer.” Publishers Weekly says this “masterly” novel’s central message “is that sometimes in order to express love, one has to forgive.” Let’s hope HBO makes this one into a mini-series as well. (Edan)
The Past by Tessa Hadley: Hadley was described by one critic as “literary fiction’s best kept secret,” and Hilary Mantel has said she is “one of those writers a reader trusts,” which, considering the source, is as resounding an endorsement as one can possibly imagine. The English novelist is the author of five novels and two short story collections; in The Past, her sixth novel, siblings reunite to sell their grandparents’ old house. Most likely unsurprising to anyone who’s reunited with family for this sort of thing, “under the idyllic surface, there are tensions.” (Elizabeth)
Good on Paper by Rachel Cantor: Following her time-traveling debut, A Highly Unlikely Scenario, or a Neetsa Pizza Employee’s Guide to Saving the World (which is a member of The Millions Hall of Fame), Cantor’s second novel, Good on Paper, chronicles the story of academic and mother Shira Greene. After Shira abandons her PhD thesis on Dante Alighieri’s Vita Nuova, she takes an unfulfilling temp job. When Nobel Prize-winner Romei contacts her to translate his latest work based on Dante’s text, she couldn’t be more excited. But upon receiving his text, she fears “the work is not only untranslatable but designed to break her.” (Cara)
The Happy Marriage by Tahar Ben Jelloun: The latest novel by Morocco’s most acclaimed living writer focuses on the dissolution of a marriage between a renowned painter and his wife. Using two distinct points of view, Ben Jelloun lets each of his characters — man and wife — tell their side of the story. Set against the backdrop of Casablanca in the midst of an awakening women’s rights movement, The Happy Marriage explores not only the question of who’s right and who’s wrong, but also the very nature of modern matrimony. (Nick M.)
Fine, Fine, Fine, Fine, Fine by Diane Williams: Williams’s short stories operate according to the principles of Viktor Shklovsky’s ostranenie: making strange in order to reveal the ordinary anew. They are dense and dazzling oddities with an ear for patois and steeped deeply in the uncanny. Darkness and desire and despair and longing and schadenfreude and judgment roil just below the surface of seemingly pleasant exchanges, and, in their telling, subvert the reader’s expectations of just how a story unfolds. Williams’s previous collection Vicky Swanky Is a Beauty was a beauty. Fine, Fine, Fine, Fine, Fine, her forthcoming, warns of linguistic breakdown, insistence, and restlessness. (Anne)
Mr. Splitfoot by Samantha Hunt: It’s been seven years since Samantha Hunt’s novel about Nicola Tesla, The Invention of Everything Else, was listed as an Orange Prize finalist. Now Hunt’s back with a modern gothic starring a scam-artist orphan who claims to talk to the dead; his sister who ages into a strange, silent woman; and, later, her pregnant niece, who follows her aunt on a trek across New York without exactly knowing why. Also featured: meteorites, a runaway nun, a noseless man, and a healthy dash of humor. Although it’s still too early to speculate on the prize-winning potential of Mr. Splitfoot, Hunt’s fantastical writing is already drawing favorable comparisons to Kelly Link and Aimee Bender, and her elegantly structured novel promises to be the year’s most unusual ghost story. (Kaulie)
The Kindness of Enemies by Leila Aboulela: Aboulela’s new novel transports readers to Scotland, the Caucasus, St. Petersburg, and Sudan. The protagonist is a Scottish-Sudanese lecturer researching “the lion of Dagestan,” a 19th-century leader who resisted Russian incursions, when she finds out that one of her students is his descendant. As they study up on the rebel leader, and the Georgian princess he captured as a bargaining chip, the two academics become embroiled in a cultural battle of their own. Aboulela’s fifth book sounds like a fascinating combination of Leo Tolstoy’s Hadji Murat and A.S. Byatt’s Possession. (Matt)
Girl Through Glass by Sari Wilson: With its intense competition and rivalries, the ballet world provides a novelist with plenty of dramatic material. Girl Through Glass alternates between late-1970s New York, where its heroine works her way into George Balanchine’s School of American Ballet, and the present day, where she is a dance professor having an affair with a student. Exploring the exquisite precision of dancing alongside the unruliness of passion, Wilson’s novel looks to be on point. (Matt)
Unspeakable Things by Kathleen Spivack: In her debut novel, Spivack, an accomplished poet, tells the story of a refugee family fleeing Europe during the final year of WWII. In New York City, where they’ve been laying low, we meet a cast of characters including a Hungarian countess, an Austrian civil servant, a German pediatrician, and an eight-year-old obsessed with her family’s past — especially some long-forgotten matters involving late night, secretive meetings with Grigori Rasputin. Described by turns as “wild, erotic” as well as “daring, haunting, dark, creepy, and surreal,” Unspeakable Things certainly seems to live up to its title. (Nick M.)
What Belongs to You by Garth Greenwell: Greenwell’s debut novel expands his exquisitely written 2011 novella, Mitko. A meticulous stylist, Greenwell enlarges the story without losing its poetic tension. An American teacher of English in Bulgaria longs for Mitko, a hustler. Think the feel of James Salter’s A Sport and a Pastime. Greenwell’s lines tease and tear at the soul: “That my first encounter with Mitko B. ended in a betrayal, even a minor one, should have given me greater warning at the time, which should in turn have made my desire for him less, if not done away with it completely. But warning, in places like the bathrooms at the National Place of Culture, where we met, is like some element coterminous with the air, ubiquitous and inescapable, so that it becomes part of those who inhabit it, and thus part and parcel of the desire that draws us there.” (Nick R.)
On the Edge by Rafael Chirbes: This novel about the ills of Europe generally and Spain specifically appears in English mere months after the death of its author, one of Spain’s premier novelists. Readers unmoved by, say, the sour hypotheticals of Michel Houellebecq will find a more nuanced, if no less depressing, portrait of economic decline and societal breakdown in On the Edge, the first of Chirbes’s novels to be translated into English (by Margaret Jull Costa). (Lydia)
The Unfinished World by Amber Sparks: The second collection of short fiction by Sparks, The Unfinished World comprises 19 short (often very short) stories, surreal and fantastic numbers with titles like “The Lizzie Borden Jazz Babies” and “Janitor in Space.” Sparks’s first collection, May We Shed These Human Bodies, was The Atlantic Wire’s small press debut of 2012. (Lydia)
And Again by Jessica Chiarella: This debut by current UC Riverside MFA student Chiarella is a speculative literary novel about four terminally ill patients who are given new, cloned bodies that are genetically perfect and unmarred by the environmental dangers of modern life. According to the jacket copy, these four people — among them a congressman and a painter — are “restored, and unmade, by this medical miracle.” And Again is a January Indie Next Pick, and Laila Lalami calls it “a moving and beautifully crafted novel about the frailty of identity, the illusion of control, and the enduring power of love.” (Edan)
The High Mountains of Portugal by Yann Martel: The fourth novel by Martel is touted as an allegory that asks questions about loss, faith, suffering, and love. Sweeping from the 1600s to the present through three intersecting stories, this novel will no doubt be combed for comparison to his blockbuster — nine million copies and still selling strong — Life of Pi. And Martel will, no doubt, carry the comparisons well: “Once I’m in my little studio…there’s nothing here but my current novel,” he told The Globe and Mail. “I’m neither aware of the success of Life of Pi nor the sometimes very negative reviews Beatrice and Virgil got. That’s all on the outside.” (Claire)
The Queen of the Night by Alexander Chee: We’ve been awaiting Chee’s sophomore novel, and here it finally is! A sweeping historical story — “a night at the opera you’ll wish never-ending,” says Helen Oyeyemi — and the kind I personally love best, with a fictional protagonist moving among real historical figures. Lilliet Berne is a diva of 19th-century Paris opera on the cusp of world fame, but at what cost? Queen of the Night traffics in secrets, betrayal, intrigue, glitz, and grit. And if you can judge a book by its cover, this one’s a real killer. (Sonya)
The Lost Time Accidents by John Wray: Whiting Award-winner Wray’s fourth novel, The Lost Time Accidents, moves backwards and forwards in time, and across the Atlantic, while following the fates of two Austrian brothers. Their lives are immersed in the rich history of early-20th-century salon culture (intermingling with the likes of Gustav Klimt and Ludwig Wittgenstein), but then they diverge as one aids Adolf Hitler and the other moves to the West Village and becomes a sci-fi writer. When the former wakes one morning to discover that he has been exiled from time, he scrambles to find a way back in. This mash-up of sci-fi, time-travel, and family epic is both madcap and ambitious: “literature as high wire act without the net,” as put by Marlon James. (Anne)
A Doubter’s Almanac by Ethan Canin: Canin is the New York Times bestselling author of The Palace Thief and America America and a faculty member at the Iowa Writers’ Workshop. Mathematical genius Milo Andret, subject of A Doubter’s Almanac, shares a home with Canin in northern Michigan. Milo travels to Berkeley, Princeton, Ohio, and back to the Midwest while studying and teaching mathematics. Later in the story, Hans, Milo’s son, reveals that he has been narrating his father’s mathematical triumphs and fall into addiction. Hans may be “scarred” by his father’s actions, but Canin finds a way to redeem him through love. (Cara)
Why We Came to the City by Kristopher Jansma: Kirkus described this book as an ode to friendship, but it could just as easily be described as a meditation on mortality. Jansma’s second novel — his first was The Unchangeable Spots of Leopards, published in 2014 — follows the intertwined lives and increasingly dark trajectories of a group of four young friends in New York City. (Emily)
Tender by Belinda McKeon: McKeon took her place among the prominent Irish novelists with her 2011 debut, Solace, which was voted Irish Book of the Year. Her second novel, Tender, follows the lifelong friendship of Catherine and James, who meet when they are both young in Dublin. At first she is a quiet college student and he the charismatic artist who brings her out of her shell, but McKeon follows their friendship through the years and their roles change, reverse, and become as complicated as they are dear. (Janet)
Wreck and Order by Hannah Tennant-Moore: Tennant-Moore’s debut novel, Wreck and Order, brings the audience into the life of Elsie, an intelligent young woman making self-destructive decisions. Economically privileged, she travels instead of attending college. Upon her return from Paris, she finds herself stuck in an abusive relationship and a job she hates — so she leaves the U.S. again, this time for Sri Lanka. A starred review from Publishers Weekly says, “Tennant-Moore is far too sophisticated and nuanced a writer to allow Elsie to be miraculously healed by the mysterious East.” Tennant-Moore leaves the audience with questions about how to find oneself and one’s purpose. (Cara)
Dog Run Moon by Callan Wink: A few short years ago, Wink was a fly-fishing guide in Montana. Today, he has nearly bagged the limit of early literary successes, reeling in an NEA grant, a Stegner Fellowship at Stanford, and publications in The New Yorker, Granta, and the Best American Short Stories. “[T]hrough the transparency of his writing, at once delicate and brutally precise, the author gifts us with the wonderful feeling of knowing someone you’ve only met in a book,” Publishers Weekly says of Wink’s debut collection, which is mostly set in and around Yellowstone National Park. (Michael)
The Fugitives by Christopher Sorrentino: Ten years after Sorrentino’s much-lauded and National Book Award-nominated Trance, he returns with The Fugitives, called “something of a thriller, though more Richard Russo than Robert Ludlum,” by Kirkus. Within, struggling writer Sandy Mulligan leaves New York for a small, seemingly quiet Michigan town to escape scandal and finish his novel, and, well, does anything but. His name evokes Sorrentino’s father’s acclaimed novel Mulligan Stew, another tale of a struggling writer whose narrative falls apart. Mulligan’s novel suffers neglect as he befriends a swindler and becomes involved with an investigative reporter who’s there to uncover the crime; Sorrentino’s plot, in contrast, is fine-tuned. (Anne)
The Book of Memory by Petina Gappah: Gappah’s first book, a short story collection called An Elegy for Easterly, won the Guardian First Book Prize in 2009. The Book of Memory is her first novel, and if the first sentence of the description doesn’t hook you, I’m not sure what to tell you: “Memory is an albino woman languishing in Chikurubi Maximum Security Prison in Harare, Zimbabwe, where she has been convicted of murder.” The novel follows this “uniquely slippery narrator” as she pieces together her crime and the life that led her there. (Elizabeth)
Youngblood by Matthew Gallagher: In his debut work of fiction, Gallagher, a former U.S. Army captain, focuses his attentions on Jack Porter, a newly-minted lieutenant grappling with the drawdown of forces in Iraq. Struggling with the task of maintaining a delicate peace amongst warlords and militias, as well as the aggressive pressures being applied by a new commanding officer, Jack finds himself embroiled in a conflict between the nation he serves and the one he’s supposedly been sent to help. Described as “truthful, urgent, grave and darkly funny” — as well as “a slap in the face to a culture that’s grown all too comfortable with the notion of endless war” — this novel comes more than 12 years after George W. Bush declared, “Mission Accomplished,” and nine months before we elect our next president. (Nick M.)
Black Deutschland by Darryl Pinckney: West Berlin in the years before the Wall came down — “that petri dish of romantic radicalism” — is the lush backdrop for Pinckney’s second novel, Black Deutschland. It’s the story of Jed Goodfinch, a young gay black man who flees his stifling hometown of Chicago for Berlin, hoping to recapture the magic decadence of W.H. Auden and Christopher Isherwood’s Weimar era and, in the process, remake and discover himself. In Berlin, Jed is free to become “that person I so admired, the black American expatriate.” Kirkus praises the novel for embodying the “inventive, idiosyncratic styles” now flourishing in African-American writing. (Bill)
Cities I’ve Never Lived In by Sara Majka: The linked stories in Majka’s debut collection beg the question how much of ourselves we leave behind with each departure we make, as we become “citizens of the places where we cannot stay.” Kelly Link offers high praise: “A collection that leaves you longing — as one longs to return to much loved, much missed homes and communities and cities — for places that you, the reader, have never been. Prodigal with insight into why and how people love and leave, and love again.” You can read excerpts at Catapult and Longreads. (Bruna)
The Heart by Maylis de Kerangal: De Kerangal, a short-lister for the Prix Goncourt, has not been widely translated in English, although this may change after this novel — her first translation from an American publisher — simultaneously ruins and elevates everyone’s week/month/year. The Heart is a short and devastating account of a human heart (among other organs) as it makes its way from a dead person to a chronically ill person. It is part medical thriller, part reportage on the process of organ donation, part social study, part meditation on the unbearable pathos of life. (Lydia)
You Should Pity Us Instead by Amy Gustine: A debut collection of crisp short stories about people in various forms of extremis — people with kidnapped sons, babies who won’t stop crying, too many cats. The scenarios vary wildly in terms of their objective badness, but that’s how life is, and the writer treats them all with gravity. (Lydia)
The Lives of Elves by Muriel Barbery: Following the hoopla around her surprise bestseller The Elegance of the Hedgehog, Barbery, trained as a philosopher, became anxious about expectations for the next book. She traveled, and went back to teaching philosophy. She told The Independent that for a time she had lost the desire to write. Eight years on, we have The Lives of Elves, the story of two 12-year-old girls in Italy and France who each discover the world of elves. Barbery says the book is neither a fairytale nor a parable, strictly speaking, but that she is interested in “enchantment” — how the modern world is “cut off from” from its poetic illusions. (Sonya)
Square Wave by Mark de Silva: A dystopian debut set in America with a leitmotif of imperial power struggles in Sri Lanka in the 17th century. Part mystery, part sci-fi thriller, the novel reportedly deals with “the psychological effects of a militarized state upon its citizenry” — highly topical for Americans today. Readers of The New York Times may recognize de Silva’s name from the opinion section, where he was formerly a staffer. (Lydia)
The Arrangement by Ashley Warlick: Food writing fans may want to check out a novelization of the life of M.F.K. Fisher, focusing on, the title suggests, the more salacious personal details of the beloved food writer’s life. (Lydia)
Sudden Death by Álvaro Enrigue: At once erudite and phantasmagoric, this novel begins with a 16th-century tennis match between the painter Caravaggio and the poet Francisco de Quevedo and swirls lysergically outward to take in the whole history of European conquest. It won awards in Spain and in Enrigue’s native Mexico; now Natasha Wimmer gives us an English translation. (Garth)
The Daredevils by Gary Amdahl: Over the last decade, Amdahl has traced an eccentric orbit through the indie-press cosmos; his mixture of bleakness, comedy, and virtuosity recalls the Coen Brothers, or Stanley Elkin’s A Bad Man. The “Amdahl Library” project at Artistically Declined Press seems to be on hold for now, but perhaps this novel, about a young man riding the currents of radical politics and theater in the early-12th century, will bring him a wider audience. (Garth)
What Is Not Yours Is Not Yours by Helen Oyeyemi: Oyeyemi wrote her first novel, The Icarus Girl, at 18 and was later included on Granta’s Best of Young British Novelists in 2013. Following her fifth release, the critically-praised novel Boy, Snow, Bird, in 2014, Oyeyemi is publishing her first collection of short stories. The stories draw on similar fairy tale themes as her past works. In What Is Not Yours Is Not Yours, Oyeyemi links her characters through literal and metaphorical keys — to a house, a heart, a secret. If you can’t wait to get your hands on the collection, one of the stories, “‘Sorry’ Doesn’t Sweeten Her Tea,” was published in Ploughshares this summer. (Cara)
The Ancient Minstrel by Jim Harrison: With The Ancient Minstrel, our national treasure known as Jim Harrison returns to his greatest strength, the novella. Like Legends of the Fall, this new book is a trio of novellas that showcase Harrison’s seemingly limitless range. In the title piece, he has big fun at his own expense, spoofing an aging writer who wrestles with literary fame, his estranged wife, and an unplanned litter of piglets. In Eggs, a Montana woman attempting to have her first child reminisces about collecting eggs at her grandparents’ country home in England. And in The Case of the Howling Buddhas, retired detective Sunderson returns from earlier novels to investigate a bizarre cult. The book abounds with Harrison’s twin trademarks: wisdom and humor. (Bill)
The Throwback Special by Chris Bachelder: As a fan of sports talk radio and its obsessive analysis, I’m looking forward to Bachelder’s novel, which endlessly dissects the brutal 1985 play where Lawrence Taylor sacked Washington’s quarterback Joe Theismann, breaking his leg. In the novel, 22 friends meet to reenact the play, an occasion that allows Bacheler to philosophize about memory and the inherent chaos of sports. As he put it in a New York Times essay: “I’m moved…by the chasm…between heady design and disappointing outcome, between idealistic grandeur and violent calamity.” (Matt)
The Year of the Runaways by Sunjeev Sahota: Sahota’s second novel is the only title on the 2015 Man Booker Prize shortlist that has yet to be published in the United States. It tells the story of four Indians who emigrate to the north of England and find their lives twisted together in the process. Many critics cited its power as a political novel, particularly in a year when migration has dominated news cycles. But it works on multiple levels: The Guardian’s reviewer wrote, “This is a novel that takes on the largest questions and still shines in its smallest details.” (Elizabeth)
Burning Down the House by Jane Mendelsohn: The author of the 1990s bestseller I Was Amelia Earhart here focuses on a wealthy New York family beset by internal rivalries and an involvement, perhaps unwitting, in a dark underworld of international crime. Mendelsohn’s novel hopscotches the globe from Manhattan to London, Rome, Laos, and Turkey, trailing intrigue and ill-spent fortunes. (Michael)
Stork Mountain by Miroslav Penkov: In this first novel from Penkov (author of the story collection East of the West), a young Bulgarian immigrant returns to the borderlands of his home country in search of his grandfather. Molly Antopol calls it “a gorgeous and big-hearted novel that manages to be both a page-turning adventure story and a nuanced meditation on the meaning of home.” (Bruna)
Gone with the Mind by Mark Leyner: With novels like Et Tu, Babe and The Sugar Frosted Nutsack, Leyner was one of the postmodern darlings of the 1990s (or you may remember him sitting around the table with Jonathan Franzen and David Foster Wallace for the legendary Charlie Rose segment). After spending almost the last decade on non-fiction and movie projects, he’s back with a new novel in which the fictional Mark Leyner reads from his autobiography at a reading set up by his mother at a New Jersey mall’s food court. Mark, his mother, and a few Panda Express employees share an evening that is absurd and profound — basically Leyneresque. (Janet)
Innocents and Others by Dana Spiotta: “Maybe I’m a writer so I have an excuse to do research,” Spiotta said of what she enjoys about the writing process. And yet, for all of her research, she avoids the pitfalls of imagination harnessed by fact. In fact, Spiotta’s fourth and latest novel, Innocents and Others, is nearly filmic, channeling Jean-Luc Godard, according to Rachel Kushner, and “like classic JLG is brilliant, and erotic, and pop.” Turn to The New Yorker excerpt to see for yourself: witness Jelly, a loner who uses the phone as a tool for calculated seduction, and in doing so seduces the reader, too. (Anne)
Prodigals by Greg Jackson: Jackson’s collection opens with a story originally published in The New Yorker, ”Wagner in the Desert,” a crackling tale of debauchery set in Palm Springs. In it, a group of highly-educated, creative, and successful friends seek to “baptize [their] minds in an enforced nullity.” They also repeatedly attempt to go on a hike. The wonderfully titled “Serve-and-Volley, Near Vichy,” in which a former tennis star enlists his houseguest in a bizarre project, and the eerily beautiful “Tanner’s Sisters” are two particularly memorable stories in this sharp and often haunting debut. (Matt)
Shelter by Jung Yun: Yun’s debut novel concerns Kyung Cho: a husband, father, and college professor in financial trouble who can no longer afford his home. When his own parents — whom he barely tolerates because they’ve never shown him warmth and affection — are faced with violence and must move in with him, Cho can no longer hide his anger and resentment toward them. The jacket copy compares the book to Affliction and House of Sand and Fog, and James Scott, author of The Kept, calls it “an urgent novel.” Yun’s work has previously been published in Tin House. (Edan)
99 Poems: New and Selected by Dana Gioia: A gifted poet of rhythm and reason, Gioia’s civic and critical pedigree is impressive. A previous chairman of the National Endowment for the Arts, Gioia was recently named California’s Poet Laureate. In recent years Gioia’s critical writing has taken precedence — his 2013 essay “The Catholic Writer Today” is already a classic in its genre – but this new and selected collection marks his return to verse. Graywolf is Gioia’s longtime publisher, so look for emblematic works like “Becoming a Redwood” next to new poems like “Hot Summer Night:” “Let’s live in the flesh and not on a screen. / Let’s dress like people who want to be seen.” (Nick R.)
Margaret the First by Danielle Dutton: “I had rather be a meteor, singly, alone,” writes Margaret Cavendish, the titular character in Dutton’s novel Margaret the First. Cavendish is “a shy but audacious” woman of letters, whose writing and ambitions were ahead of her time. The taut prose and supple backdrop of courtly life are irresistible. (Witness: quail in broth and oysters; bowls stuffed with winter roses, petals tissue-thin; strange instruments set beside snuffboxes.) Dutton is something of a meteor herself, as founder of the Dorothy Project and with two wondrous books already under her belt, including the Believer Book Award-nominated novel Sprawl. (Anne)
The North Water by Ian McGuire: A raw and compulsively readable swashbuckler about the whaling business, with violence and intrigue in dirty port towns and on the high seas. There are many disturbing interactions between people and people, and people and animals — think The Revenant for the Arctic Circle. This is McGuire’s second novel; he is also the author of the “refreshingly low-minded campus novel” Incredible Bodies. (Lydia)
Blackass by A. Igoni Barrett: A young middle-class Nigerian man wakes up in his bed one morning to find that he has become white in the night. As a consequence, he loses his family but gains all manner of undeserved and unsolicited privileges, from management positions at various enterprises to the favors of beautiful women from the upper crust of Lagos society. His dizzying tragicomic odyssey paints a vivid portrait of the social and economic complexities of a modern megacity. (Lydia)
The Nest by Cynthia D’Aprix Sweeney: D’Aprix Sweeney’s debut novel The Nest will hit shelves in March trailing seductive pre-hype: we learned last December that the book was sold to Ecco for seven figures, and that it’s the story of a wealthy, “spectacularly dysfunctional” family — which for me brings to mind John Cheever, or maybe even the TV series Bloodlines, in which one of the siblings is a particular mess and the others have to deal with him. But The Nest has been described as “warm,” “funny,” and “tender,” so perhaps the novel is more an antidote to the darkness in family dysfunction we’ve known and loved — fucked-up families with hearts of gold? (Sonya)
What Lies Between Us by Nayomi Munaweera: A novel about a mother and daughter who leave Sri Lanka after a domestic disturbance and struggle to find happiness in the United States. Munaweera won the Regional Commonwealth Book Prize for Asia for her first novel, Island of a Thousand Mirrors. (Lydia)
The Association of Small Bombs by Karan Mahajan: A novelist examines the enduring fallout of a “small” terrorist attack in a Delhi marketplace, and the way that families, politics, and pain weave together. Mahajan’s first novel, Family Planning, was a finalist for the Dylan Thomas prize. (Lydia)
Hold Still by Lynn Steger Strong: An emotionally suspenseful debut about the relationship between a mother and her troubled young daughter, who commits an unfixable indiscretion that implicates them both. (Lydia)
Dodge Rose by Jack Cox: This young Australian has evidently made a close study of James Joyce and Samuel Beckett (and maybe of Henry Green) — and sets out in his first novel to recover and extend their enchantments. A small plot of plot — two cousins, newly introduced, attempt to settle the estate of an aunt — becomes the launch pad for all manner of prose pyrotechnics. (Garth)
High Dive by Jonathan Lee: The Assassination of Margaret Thatcher could have been the title of Lee’s first novel, had Hilary Mantel not taken it for her 2014 short story collection. The similarities end with the subject matter, though. Where Mantel opted for a tight focus, Lee’s novel uses a real-life attempt to blow up Mrs. Thatcher as an opportunity to examine other, less public lives. (Garth)
My Struggle: Book Five by Karl Ove Knausgaard: Translated from the Norwegian by Don Bartlett, the fifth installment of this six-volume autobiographical novel covers Knausgaard’s early adulthood. The book is about a love affair, alcoholism, death, and the author’s struggle to write. James Wood describes Knausgaard’s prose as “intense and vital […] Knausgaard is utterly honest, unafraid to voice universal anxieties.” (Bruna)
Eligible by Curtis Sittenfeld: In Sittenfeld’s modern retelling of Pride and Prejudice, Liz is a New York City magazine writer and Darcy is a Cincinnati neurosurgeon. Although the update is certainly on trend with themes of CrossFit and reality TV, Sittenfeld is an obvious choice to recreate Jane Austen’s comedy of manners. From her boarding school debut, Prep, to the much-lauded American Wife, a thinly veiled imagination of Laura Bush, Sittenfeld is a master at dissecting social norms to reveal the truths of human nature underneath. (Tess)
Alice & Oliver by Charles Bock: The author’s wife, Diana Colbert, died of leukemia in 2011 when their daughter was only three years old. Inspired in part by this personal tragedy, this second novel by the author of 2008’s Beautiful Children traces a day in the life of a young New York couple with a new baby after the wife is diagnosed with cancer. “I can’t remember the last time I stayed up all night to finish a book,” enthuses novelist Ayelet Waldman. “This novel laid me waste.” (Michael)
Our Young Man by Edmund White: White’s 13th novel sees a young Frenchman, Guy, leave home for New York City, where he begins a modeling career that catapults him to the heights of the fashion world. His looks, which lend him enduring popularity amongst his gay cohort on Fire Island, stay youthful for decades, allowing him to keep modeling until he’s 35. As the novel takes place in the ’70s and ’80s, it touches on the cataclysm of the AIDS crisis. (Thom)
Now and Again by Charlotte Rogan: After harboring a secret writing habit for years, Rogan burst onto the bestseller list with her debut novel, The Lifeboat, which was praised for its portrayal of a complex heroine who, according to The New York Times, is “astute, conniving, comic and affecting.” Rogan’s second novel, Now and Again, stars an equally intricate secretary who finds proof of a high-level cover-up at the munitions plant where she works. It is both a topical look at whistleblowers and a critique of the Iraq War military-industrial complex. Teddy Wayne calls it “the novel we deserve for the war we didn’t.” (Claire)
Hystopia by David Means: After four published books, a rap sheet of prizes, and six short stories in The New Yorker, Means is coming out with his debut novel this spring. Hystopia is both the name of the book and a book-within-the-book, and it revolves around Eugene Allen, a Vietnam vet who comes up with an alternate history. In Allen’s bizarre, heady what-if, John F. Kennedy survives the ’60s, at the end of which he creates an agency called the Psych Corps that uses drugs to wipe traumas from people’s brains. (Thom)
Ear to the Ground by David L. Ulin and Paul Kolsby: In this “rollicking” tale about 1990s L.A., seismologist Charlie Richter, grandson of the man who invented the Richter scale, heads to the City of Angels to work at the Center of Earthquake Science to prove his methods for predicting quakes. The book, co-written by an essayist and critic (Ulin) and a screenwriter and movie producer (Kolsby), comes with an introduction by Karolina Waclawiak, author of The Invaders, and was previously serialized in the L.A. Reader. The novel will be published by the small but mighty Unnamed Press, an L.A.-based publishing house with a roster of quirky and formally daring books. (Edan)
Thomas Jefferson Dreams of Sally Hemings by Stephen O’Connor: A fictional account of Thomas Jefferson and Sally Hemings told in conversations, fragments, and dreams. An excerpt is available at Electric Literature’s Recommended Reading — the site’s editor called it “experimental, metaphysical, deeply unsettling, and important.” (Lydia)
Bardo or Not Bardo by Antoine Volodine: In his publisher’s synopsis, the French writer Volodine’s multi-novel project sounds appealingly nuts: “Most of his works take place in a post-apocalyptic world where members of the ‘post-exoticism’ writing movement have all been arrested as subversive elements.” A recent critical essay in The New Inquiry furthers the sense of a cult in the making. Bardo or Not Bardo, a comedy the characters of which keep bungling attempts at reincarnation, may be a good place to begin the indoctrination. (Garth)
Letters to Kevin by Stephen Dixon: In 2015, it’s remarkably easy to make a phone call, so the latest novel by Stephen Dixon comes off as a Beckettian farce. The plot is absurd: in it, a man named Rudy sets out to call his friend Kevin Wafer, a teenager-going-on-college-student who lives across the country in Palo Alto. Rudy doesn’t have a phone, but when he tries to use a phone booth, a crane picks it up and deposits it (and Rudy) in a warehouse. Eventually, he gives up and opts to write a letter instead. Throughout, Dixon’s black-and-white drawings lend depth to his nightmare of inconvenience. (Thom)
The Bricks That Built the Houses by Kate Tempest: Barely 30, Tempest has won awards for her poetry, performances, and recordings. Her long narrative poem “Brand New Ancients” found the through-line from Homer to Jay-Z. Now she turns to prose, in a novel about scrabbling young Londoners trying to outrun the past. (Garth)
Zero K by Don DeLillo: When Jennifer Egan introduced DeLillo for his reception of the National Book Foundation Lifetime Achievement Award, she noted “There will be no better way to understand life in the late-20th and early-21st century than reading the books of Don DeLillo.” Paranoia does not always lead to prescience, but DeLillo’s anxious eye toward the future has always been tempered by his identity as the son of immigrants and the Catholic spectacle of his youth. Zero K begins big: “Everybody wants to own the end of the world,” says billionaire Ross Lockhart to his son Jeff, the novel’s narrator. Jeff notes “We were sharing a rare point in time, contemplative, and the moment was made complete by his vintage sunglasses, bringing the night indoors.” No one is better than DeLillo at vaulting between registers of comedy and tragedy, between the consequence of eternity and the power of a single moment. (Nick R.)
LaRose by Louise Erdrich: On a summer day in North Dakota, 1999, a man named Landreaux stalks a deer along his property line. He shoots and misses, but he’s hit something else: his neighbor’s five-year-old son, Dusty. Landreaux’s close with his neighbors, in part because he has a five-year-old son of his own, LaRose, and the boys were inseparable. Erdrich’s 15th novel explores the complicated aftermath of the death, as Landreaux and his wife decide to give LaRose to their grieving neighbors as retribution. (Emily)
The Fox Was Ever the Hunter by Herta Müller: As if living in a totalitarian regime wasn’t bad enough, the four friends in Müller’s novel must contend with the fact that one of them is spying on the group for the secret police. Capturing the fear and moral corruption of the final days of Romania’s Ceausescu regime — and inevitably drawing on her own persecution by the secret police — Müller won a Nobel Prize in Literature in 2009 for her work. Now, her long-time translator Philip Boehm brings the classic to English readers. (Tess)
The Pier Falls by Mark Haddon: Haddon is nothing if not versatile. You know him for his international bestseller, The Curious Incident of the Dog in the Night-Time, but did you know Haddon is also an illustrator, screenwriter, poet, winner of two BAFTAs, and has written 15 books for children? It might not come as a surprise that his new book is a departure: a collection of short stories. An expedition to Mars goes wrong, a seaside pier collapses, a woman is marooned on an island, two boys find a gun in a shoebox. The stories are billed as “searingly imaginative and emotionally taut.” (Claire)
Sweet Lamb of Heaven by Lydia Millet: In her 10th novel, Millet delves into the territory of the psychological thriller: a young mother, Anna, takes her six-year-old daughter, Lena, and flees her estranged husband, Ned, who’s running for office in Alaska. Anna and Lena go into hiding in a derelict hotel in Maine, which quickly begins to fill up with other guests; guests who, as the novel progresses, begin to seem less and less like ordinary tourists, even as Ned begins to seem more and more sociopathic. (Emily)
Modern Lovers by Emma Straub: What happens when you age out of your cool? It’s a topic that filmmaker Noah Baumbach has explored, and Straub is his literary counterpart. Her third novel follows three Brooklyn Gen X friends and former bandmates nearing 50 and handing off the baton of hipness to their children, stifled ambition and sexual frustration included. With the multigenerational structure, it would be easy to compare Straub to other masters of the genre like Meg Wolitzer or Jennifer Egan, but she’s already a master in her own right after The Vacationers, so Modern Lovers should prove to be a witty romp. (Tess)
The Noise of Time by Julian Barnes: Barnes’s new novel — his first since 2011’s Man Booker Prize-winning The Sense of an Ending — concerns the life of the Russian composer Dmitri Shostakovich. Barnes considers his character not just on a human level, as a young man fearing for his life and the safety of his family under Joseph Stalin, but also as a lens through which to examine the fall of the Soviet Union and the role of the artist in society. (Emily)
Everybody’s Fool by Richard Russo: There are two kinds of Russo aficionados — those who came to him through his hilarious 1997 academic satire Straight Man and those who started with his wry, brooding 1993 breakthrough Nobody’s Fool. The latter strain of Russophile will rejoice that Russo has brought back Donald “Sully” Sullivan, the irascible hero of Nobody’s Fool, who was played by Paul Newman in the movie version. Two decades on, Sully has learned from his doctor that he has at most a year or two to live, and spends the novel striving to keep the news from everybody he loves. (Michael)
The Sport of Kings by C.E. Morgan: You had to know the person who’s spent more than a decade working at thoroughbred racetracks would choose to blurb the horse racing novel. Morgan, who was named one of The New Yorker’s 20 Under 40 in 2010, has set both of her novels in her native Kentucky; this one centers on a powerful family aiming to breed the next racing great, and a young black man who comes to work for them and brings their prejudices into full view. It is described as “an unflinching portrait of lives cast in shadow by the enduring legacy of slavery.” (Elizabeth)
The City of Mirrors by Justin Cronin: Cronin brings his mammoth, vampire apocalypse horror trilogy to a close this spring with The City of Mirrors. The Twelve (godfather vampires) have been defeated, and their descendants with them, and the human colonists start to retake the world, no longer confined to their fortresses and hiding places. But are they really safe? (They’re not.) Zero — the vampire who created The Twelve — survives, and he’s mad as hell. The conclusion of this suspenseful, surprising, frequently heartwarming, more often creepy-as-shit series promises to go out with a bang. (Janet)
The Fat Artist and Other Stories by Benjamin Hale: Hale’s simian debut novel, The Evolution of Bruno Littlemore, was widely praised; it takes talent to craft the believable voice of a chimpanzee who has “finally decided to give this undeserving and spiritually diseased world the generous gift of my memoirs.” Hale recently co-edited an issue of Conjunctions titled “A Menagerie,” that collects bestial tales. The short story form allows Hale’s own penchant for invention to further shine. One story, “The Minus World,” investigates shadow, “unfinished or rejected levels that the programmers left floating around” in Super Mario Bros: “It’s as if Mario had traveled to the distant, frayed edges of space and time. He must look into the void. It’s a little frightening.” The Fat Artist, which includes stories about dominatrices and performance artists, is sure to please. (Nick R.)
Imagine Me Gone by Adam Haslett: In his third book and second novel, Imagine Me Gone, Haslett returns to the territory of mental illness — the subject of many of the stories in his award-winning debut collection You Are Not a Stranger Here. Margaret marries John, after learning of his serious struggle with depression, and later their eldest son, Michael, battles with despair as well. From Joy Williams: “[O]ne of the most harrowing and sustained descriptions of a mind in obsessive turmoil and disrepair that I’ve ever read.” Peter Carey, on the other hand, speaks to the hopeful elements of the novel — “both dreadfully sad and hilariously funny all at once. It is luminous with love.” (Sonya)
Eleven Hours by Pamela Erens: In her two previous novels, Erens has quietly built a reputation as a sharp stylist with a gift for bringing quirky outsiders alive on the page. In Eleven Hours, a very pregnant young woman arrives alone at the maternity ward wanting to give birth without a fetal heart monitor, IV tubes, or epidural anesthesia. The novel follows her 11-hour labor in the care of a Haitian nurse who is herself pregnant. “Erens evokes the layered experience of living in a body — its tides of memory, sensation, and emotion — like no other writer I know,” writes novelist Karen Russell. (Michael)
Allegheny Front by Matthew Neill Null: A collection of short stories set in the author’s native West Virginia, where people and landscapes and animals reap the wages of resource extraction. Null’s first novel, Honey from the Lion, was a historical novel about West Virginia’s timber industry. (Lydia)
Barkskins by Annie Proulx: The award-winning author of The Shipping News and Brokeback Mountain returns with a new novel in June — 10 years in the making — about wilderness, the rampant destruction of forests, and greed. At over 800 pages, this ambitious novel spans over three centuries and travels from France to China to New England. (Bruna)
Vinegar Girl by Anne Tyler: If anyone was going to update The Taming of the Shrew, it should be the Pulitzer-winning Tyler, who is a keen observer of the nuances of the American family. In her take on the classic Shakespearean comedy, Kate is managing her odd scientist father’s household when his assistant might be deported, and the men scheme to keep him in the country with Kate’s help. Even though we think we already know the ending, the independent and contemporary Kate might have a surprise up her sleeve. (Tess)
They May Not Mean To, But They Do by Cathleen Schine: Her new novel, They May Not Mean To, But They Do, will solidify Schine’s reputation as “the Jane Austen of the 21st century.” When her husband dies, Joy Bergman finds that her children, Molly and Daniel, have an arsenal of weapons to fend off the woes of widowhood. But Joy is not about to take advice or antidepressants from anyone. When an ardent suitor from Joy’s college days reappears, Molly and Daniel must cope with their widowed mother becoming as willful and rebellious as their own kids. They May Not Mean To, But They Do is a compassionate look at three generations, all coming of age together. (Bill)
The Girls by Emma Cline: This debut follows two young women into the world of a Manson-ish cult in the 1960s. Cline won the 2014 Plimpton Prize from the Paris Review, which also published her essay about how she came to this material. (Garth)
Sons and Daughters of Ease and Plenty by Ramona Ausubel: Ausubel’s first novel, No One Is Here Except All of Us, won the PEN Center USA Fiction Award and the VCU Cabell First Novel Award. The New York Times Book Review wrote that her story collection, A Guide to Being Born, “finds a way to record the tensions between the corporeal and the invisible” — that’s an excellent way to read all her mischievous, magical work, actually. Ausubel’s second novel is about a moneyed family on Martha’s Vineyard in the 1970s — except this moneyed family is out of dough. The terror of being broke spins parents Fern and Edgar off on separate, strange journeys; meanwhile, their three kids are left to fend for themselves “in an improvised Neverland helmed by the tender, witty, and resourceful Cricket, age nine.” Maggie Shipstead calls it a “brilliantly imagined novel about family and fortune and the hidden knots between.” (Edan)
Rich and Pretty by Rumaan Alam: In Alam’s debut novel, Rich and Pretty, Sarah is the rich one and Lauren is the pretty one. They first met 20 years ago at a tony private school in Manhattan and became inseparable through high school, college, first jobs, and first loves. But now, all grown up and living very different New York lives, they have to navigate the tricky ways that the closest of friendships evolve, erode, and endure. Emma Straub, author of The Vacationers, says Alam, a Year in Reading alum at The Millions, has crafted a debut that’s “smart, sharp and beautifully made.” (Bill)
Homegoing by Yaa Gyasi: Gyasi’s debut distills hundreds of years of of history into 300 pages, tracing the lives and legacies of two Ghanaian half-sisters, one of them sold into slavery, one of them comparatively free. (Garth)
July and Beyond:
Home Field by Hannah Gersen: Our own Hannah Gersen’s debut novel is the story of Dean, a high school football coach in small town Maryland — and therefore a pillar of his community — whose life comes untethered after his wife’s suicide. Left to raise three children dealing with their mother’s death — a daughter at Swarthmore, an 11-year-old son acting out, and an eight-year-old son who barely understands it all — not to mention keep winning football games, Dean has to take stock of the life he thought he had, and how to move forward. (Janet)
Here I Am by Jonathan Safran Foer: FSG editor Eric Chinski knows Foer’s new novel — his first since Extremely Loud and Incredibly Close (2005) — better than anyone (other than Foer himself of course). Chinski says of Here I Am, “It’s got this high-wire inventiveness and intensity of imagination in it, and the sheer energy that we associate with Jonathan’s writing, but it’s a big step forward for him. It’s got a kind of toughness; it’s dirty, it’s kind of funny, like Portnoy’s Complaint, it exposes American Jewish life.” It’s not, Chinski says, autobiographical in any strict sense, but does borrow from Foer’s life — the story of a Jewish family, divorce, and three sons, in Washington D.C. (Sonya)
How to Set a Fire and Why by Jesse Ball: In his new novel, Ball follows the trajectory of a brilliant teenager living an impoverished and increasingly precarious life in the absence of her parents. Her father is dead, her mother institutionalized, and when she discovers that there’s an arson club at her school, she finds herself rapidly running out of reasons not to set the world on fire. (Emily)
I Am No One by Patrick Flanery: How far does reasonable suspicion live from outright paranoia? Are they close neighbors; do they overlap? These are questions for Jeremy O’Keefe, a professor who has just returned to New York City after 10 years abroad, and suddenly finds himself the object of obsession for a pale young man from his past — or is he? (Nick M.)
Listen to Me by Hannah Pittard: Winner of the Amanda Davis Award from McSweeney’s and author of the novels Reunion and The Fates Will Find Their Way, Pittard now brings us the story of a young married couple, Mark and Maggie, on a road trip gone wrong. Maggie’s recently been robbed at gun point, and by the time they stop for the night at an out-of-the-way inn (without power), the two aren’t even speaking to one another. Frederick Barthelme calls it “a positively Hitchcockian misadventure” and the jacket copy dubs it a “modern Gothic.” (Edan)
Monterey Bay by Lindsay Hatton: Hatton (my quondam classmate) blends historical fact — the life of John Steinbeck circa Cannery Row — with the story of a young woman discovering the complexities of adult life. In the process, the novel illuminates the founding of the famous Monterey Bay Aquarium. Celeste Ng, in her blurb, compares Monterey Bay, Euphoria, and The Signature of All Things. (Garth)
Losing It by Emma Rathbone: In her debut, The Patterns of Paper Monsters, Rathbone proved herself a wry observer of coming of age in difficult circumstances. Her second novel follows this theme, as protagonist Julia Greenfield visits her spinster aunt during a hot North Carolina summer to conquer her greatest insecurity: why she’s still a virgin at 26. Except her aunt is one as well at 58. What follows is a candid yet funny take on just what desire and love mean. (Tess)
Thus Bad Begins by Javier Marías: Marías returns with another masterful tapestry of noir-ish twists and digressive cerebration. A young man goes to work for a famous film director, and then finds himself entangled with the mysteries of the director’s wife. This one will be published in the U.S. in the fall. (Garth)
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“All that he doth write / Is pure his own.” So a 17th-century poet praised William Shakespeare. This is not actually true.
Shakespeare was a reteller. Cardenio, also known as The Double Falsehood, which I’ve written about before for The Millions, was a retelling of the Cardenio episode in Don Quixote. As You Like It retold Thomas Lodge’s romance Rosalynde, The Two Noble Kinsmen comes from the Knight’s Tale in Chaucer’s Canterbury Tales and Troilus and Cressida from Chaucer’s Troilus and Criseyde. The Comedy of Errors is Plautus’s Menaechmi with an extra set of twins. The Winter’s Tale retold Robert Greene’s novella Pandosto without the incest. Much Ado About Nothing is Orlando Furioso, although Beatrice and Benedick are original. King Lear, Hamlet, and The Taming of the Shrew may be simple rewrites of earlier plays. In fact the only of Shakespeare’s plays to have original plots were The Tempest, A Midsummer Night’s Dream, Love’s Labour’s Lost, and The Merry Wives of Windsor. What makes Shakespeare, well — Shakespeare, is not his plots, but his language.
This month, Hogarth Press published the first entry — The Gap of Time by Jeanette Winterson — in a new collection of novels by today’s major practitioners that each rewrite one of Shakespeare’s plays. Tracy Chevalier will be retelling Othello; Margaret Atwood The Tempest; Gillian Flynn Hamlet; Edward St. Aubyn King Lear; Anne Tyler The Taming of the Shrew; Jo Nesbø Macbeth; and Howard Jacobson The Merchant of Venice. This is not a new endeavor, although it does seem to be a uniquely 20th- and 21st-century phenomenon. (The Romantics preferred to think of Shakespeare as an artless genius working under pure inspiration.) But as scholars have begun to recognize the extent of Shakespeare’s own retellings — and collaborations — modern writers have taken a page out of his book by rewriting his plays. (I’ll mention here the newly announced project by the Oregon Shakespeare Festival to “translate” Shakespeare’s plays into contemporary English, but that seems to stem from a different impulse.)
Perhaps this narrative is too simple. It is not as if, after all, writers in the last century suddenly discovered Shakespeare as a source and influence. For the past 400 years, Shakespeare’s poetry and plays have become as much a part of the common language and mythology as the King James Bible. In a sense, Noah’s flood is as much a foundational myth of our culture as the Seven Ages of Man. Like Marianne Dashwood and John Willoughby, we use Shakespeare as a way to understand and connect with each other. There is so much of Shakespeare woven into Moby-Dick, for instance, that the allusions and the words and the quotations feel like the warp and woof of the novel. The same could be said for just about anything by Milton, Dickens, Austen, Woolf, Frost, Eliot — in fact I could name most of the writers in the English and American canons, and, indeed, abroad. Borges, to name just one example, found in Shakespeare a kindred spirit in his exploration of magical realism; and Salman Rushdie’s definition of magical realism as “the commingling of the improbable with the mundane” is a pretty good description of some of Shakespeare’s plays — A Midsummer Night’s Dream comes to mind.
Let’s take, for an example, Woolf’s Between the Acts, her last novel. It is a book seemingly made entirely of fragments — scraps of literature spoken and overheard; parts of the village pageant, around which the novel centers, either omitted or the voices of the actors blown away by the wind; characters speaking to each other but failing to understand, or only managing to half-articulate their thoughts. In the midst of all this, Shakespeare is ever-present, a source for the poetry on everyone’s lips, inspiration for part of the pageant, and a symbol of what ought to be valued, not just in literature and art, but in life.
One of these piecemeal phrases that becomes a refrain in the book and in the consciousness of the characters is “books are the mirrors of the soul.” Woolf turns it around from meaning that books reflect the souls of their creators to meaning that the books we read reflect what value there might be in our souls. The person who is drawn to reading about Henry V must have that same heroism somewhere in him; the woman who feels the anguish of Queen Katherine also has some of her nobility. The younger generation of Between the Acts reads only newspapers, or “shilling shockers.” No one reads Shakespeare, although they try to quote him all the time. Shakespeare becomes a substitute for what they cannot put into words themselves, their “groanings too deep for words.” The worth of Shakespeare that emerges in Between the Acts is as a tap for the hidden spring in each of the characters that contains the things they wish they could say, the thoughts that otherwise they would have no way to communicate — instead of mirrors, books are the mouthpieces of the soul.
Shakespeare’s plays are a touchstone, and the way we react to them, the way we retell them, says more about us than about him. For example, Mary Cowden Clarke in 1850 created biographies for Shakespeare’s female characters in The Girlhood of Shakespeare’s Heroines. Each are made paragons of virtue and modesty, reflecting Victorian morals and values. But Clarke was also coopting Shakespeare for her own interest in women’s rights, using his stories of women with agency and power, and clothing them in Victorian modesty in order to provide an example and a way forward for herself and her female readers.
To take another example, Mark Twain retold Julius Caesar (actually, just Act III, Scene i) in “The Killing of Julius Caesar ‘Localized,’” but he used it to address the bully politics of his day. Shakespeare’s play becomes a news squib from the “Roman Daily Evening Fasces” and the title character becomes “Mr. J. Caesar, the Emperor-elect.” Twain’s Caesar successfully fends off each would-be assassin, “[stretching] the three miscreants at his feet with as many blows of his powerful fist.” The story also makes a claim about Twain’s status as a writer compared to Shakespeare: by mentioning Shakespeare as a supposed citizen of Rome who witnessed “the beginning and the end of the unfortunate affray,” Twain mocks the popular reverence for Shakespeare; he ceases to be a poetic genius and becomes merely a talented transcriber. But by doing so, Twain mocks himself as well; he is, after all, transcribing Shakespeare.
To turn to novels, I could mention Woolf’s Night and Day, Margaret Atwood’s Cat’s Eye, Robert Nye’s Falstaff, John Updike’s Gertrude and Claudius, Rushie’s The Moor’s Last Sigh, and a long list of others. In a way these are their own type; rather than appropriating Shakespeare, or quoting or alluding to Shakespeare, they purport to re-imagine his plays. Jane Smiley’s retelling of King Lear is probably the most well-known. A Thousand Acres manages to capture the horror of Lear. It is modern in that there is no ultimately virtuous character. Cordelia, or Caroline, becomes naive and blind and prejudiced as any other character in the play, and Larry Cook’s strange relationship to his daughters and the way it blows up says less about power and pride and love and aging than about abuse and bitterness. It is both horribly familiar and also fits surprisingly well into Shakespeare’s play. It becomes part of the lens through which we now must view Lear. It enriches our reading of Shakespeare while also giving us a new view of ourselves. And oh is it a cold hard view.
For her entry into the Hogarth series, Winterson had first pick, and chose The Winter’s Tale, which she says has always been a talismanic text for her. In The Gap of Time, Winterson has written what she calls a “cover version” of The Winter’s Tale. It’s a jazzy, news-y retelling, set insistently in a realistic world. Whereas Shakespeare takes pains to remind us that his play is just a play, Winterson’s emphatically tries to set the action in our own world. Hermione, for example, an actor and singer, has a Wikipedia page. Her acting debut was in Deborah Warner’s adaptation of Winterson’s novel The PowerBook, and she has performed at the Roundhouse Theatre in London. Leontes lives in London, where he is a successful businessman with a company called Sicilia, and Polixenes, a video game designer, lives in New Bohemia, which is recognizable as New Orleans. The characters are renamed with short, jazzy nicknames: Leontes becomes Leo; Polixenes is Zeno; Hermione is Mimi; the shepherd and clown who discover the lost Perdita become Shep and Clo. Only Perdita and Autolycus retain their full names. (Autolycus is the best translation of the book: he becomes a used car salesman trying to offload a lemon of a Delorean onto the clown.)
Shakespeare’s play is focused almost equally on the parent’s story and then the children’s, but Winterson’s focuses almost exclusively on the love triangle between Zeno, Leo, and Mimi. Whereas Shakespeare leaves open the possibility that Leontes may have some grounds for jealousy (though if we believe the oracle of Apollo, no room for the possibility of Hermione being guilty of adultery), Winterson is explicit that a love triangle does exist, but she inverts it. It is Leo who loves both Mimi and Zeno, Leo who has slept with both. And it’s clear that though Mimi chose Leo, there was a distinct connection between her and Zeno. Winterson even takes a hint from Shakespeare’s source in Pandosto and makes Leo consider romancing Perdita when he meets her. “As someone who was given away and is a foundling, I’ve always worked with the idea of the lost child,” Winterson has said. The part of Shakespeare’s tale that spoke to Winterson was the origin story, why the child was lost.
Shakespeare’s play, because it doesn’t insist upon existing in a realistic world, is full of wonder and mystery. It’s that magic that happens when you hear the words “Once upon a time.” The closest Winterson’s version gets to that place is in the scenes that take place inside of Zeno’s video game, when Zeno and Leo and Mimi play themselves but also become something a little grander, a little wilder, a little more numinous. But there is little of Shakespeare’s language present. Winterson’s The Winter’s Tale is as much a retelling of Pandosto as Shakespeare.
Why do we return again and again to Shakespeare’s plays, why do we keep rewriting them? Is it in hope that some of his genius will rub off? Are we searching for new possibilities for interpretation, hoping to mine new ore out of well covered ground? Or are we going toe-to-toe, trying our strength against the acknowledged genius of English literature? Perhaps it is simply that creativity is contagious. When a piece of art inspires you, it literally in-spires, breaths into you. It makes us want to create new art. Or, maybe it’s a more basic instinct. From the beginning of our lives, when we hear a good story, a story that as Winterson says becomes “talismanic” for us, what do we say? “Tell it again.”
Image Credit: Wikipedia.
Today we celebrate the 450th anniversary of Shakespeare’s birth. Why are we celebrating it? A simple answer is that Shakespeare’s plays still speak to us. But for me, as for so many women since Shakespeare wrote his first play in around 1590, my response to his plays is complicated by my gender. Virginia Woolf wrote in the first draft of To the Lighthouse that “man has Shakespeare & women have not.” This is true. At the same time, this is not true.
Women Making Shakespeare, a new anthology from The Arden Shakespeare series edited by Gordon McMullan, Lena Cowen Orlin, and Virginia Mason Vaughan, illustrates both sides of this paradox. The anthology was designed as a tribute to Ann Thompson, the general editor of the Arden series, who edited the massive Arden volume of all three texts of Hamlet with Neil Taylor, and who throughout her career has broken new ground in feminist criticism of Shakespeare, especially with her 1997 anthology (with Sasha Roberts) Women Reading Shakespeare 1660–1900. Thompson has also, in her role as general editor of the Arden series, dramatically increased the number of women editors of Shakespeare’s plays. Her work and her influence are worth celebrating because even today’s statistics on the numbers of women editors and commentators of Shakespeare are as damning as the VIDA statistics.
The anthology contains short essays on anything related to women and Shakespeare — as characters, as actresses, as critics and scholars, as educators, as suffragists and feminists, and as readers — over the past 450 years. I would like to pose some questions that plumb the variety the anthology offers: what does reading Shakespeare mean for women? Was Shakespeare proto-feminist or patriarchal? Has anything changed in 450 years?
We might investigate these questions through the history of Juliet. Shakespeare’s Juliet is bold, Romeo’s equal. She initiates their relationship, telling Romeo “take all myself” before she even knows for certain of his interest or commitment, bubbling over with her desire past the bounds of what might be considered correct behavior, and yet her frankness, as she calls it, is what makes her magnetic. And she talks and talks — of all Shakespeare’s heroines, only Cleopatra and Rosalind have more lines. Juliet might be another Rosalind, were this not a tragedy; I can imagine her saying, with Rosalind, “Do you not know I am a woman? When I think, I must speak.”
Juliet defies her father’s plan to arrange her marriage, equivocating to Paris to avoid suspicion, and bravely agrees to the Friar’s plan to fake her death and rescue her from her family’s tomb. Shakespeare lets Juliet, rather than Romeo, describe their wedding night: “O, I have bought the mansion of a love / But not possessed it.” And in the last couplet of the last scene, the play becomes the story of “Juliet and her Romeo.” While the Friar chides Romeo for his “womanish” tears, Juliet stands out as the more mature partner. This is Juliet’s play.
Juliet’s equality with Romeo may have been underscored at its original performances by the fact that young men played both roles. But the thing about Shakespeare’s women, the reason why we still love Rosalind and Juliet today, is that they don’t read on the page or on the stage like young men in drag, trying to show what a second gender is. These are true-hearted women. Juliet is frank, and petulant, and brave, and chatty, and loving. She is authentic.
Restoration theater brought women actresses onto the stage for the first time — a woman played Desdemona for the first time in 1660 — but it also brought changes in how women were presented on stage. The prologue to the 1660 Othello declared: “I come . . . To tell you news, I saw the Lady drest; / The woman playes to day, mistake me not, / No Man in Gown, or Page in Petty-Coat; / A Woman to my knowledge.” Thus began the tradition in which actresses’ bodies were voyeuristically put on display and actresses became equated with prostitutes. At the same time, Juliet’s frankness, especially about sex, became seen as unseemly. A 1679 version of Romeo and Juliet, Thomas Otway’s Caius Marius, cut the wedding night speech and instead called marriage “lawful Rape.” Lavinia, the Juliet-figure, wakes just before her lover’s death, but in a state of confusion that elides Juliet’s strength and intelligence.
In 1744, Theophilus Cibber’s abridged Romeo and Juliet kept Otway’s alterations and, further, condemned Juliet’s exchange with Romeo in the balcony scene; her mother, suspicious of Juliet’s aversion to marriage with Paris, supposes it must be because Juliet has done something to compromise her chastity: “What sensual, lewd Companion of the Night / Have you been holding Conversation with, / From open Window, at a Midnight hour?” she demands. To be disobedient is to be unchaste.
Both Cibber and David Garrick, in his 1750 version, rewrote the closing couplet, deleting the line that foregrounds Juliet “and her Romeo,” and Garrick further deleted any hint that Juliet knows anything about sex. By 1797, with Ann Radcliffe’s novel The Italian, a retelling of the play, Ellena is propriety itself when she learns that her lover has overheard her beneath her balcony. She turns pale, shuts her window, and doesn’t speak to him. In 1845, Charlotte Cushman played Romeo to her sister Susan’s “beautifully confiding and truly feminine” Juliet — in other words, perfectly demure, perfectly silent, a model of Victorian womanhood.
Shakespeare was increasingly appropriated around this time to provide models for womanhood. Often these were paired with arguments for better access to education for girls, Kate Chedgzoy argues in her essay in this anthology, as with Mary Lamb, who composed her Tales from Shakespeare (1807) with her brother Charles partly as a way of “redressing the limitations of the education on offer to girls.” Girls could not read Shakespeare directly (what if they read Juliet’s wedding night speech?), but they could read the tales as mediated through an educator. Lamb herself later became a tutor to Mary Cowden Clarke, teaching her Latin and to read verse. Cowden Clarke’s The Girlhood of Shakespeare’s Heroines (1850) had a similar aim, but it is worth noting that each girl’s story is framed as a march from girlhood to education to marriage. The purpose of education is not, at least primarily or overtly, to give women a voice and power for self-definition; the track of womanhood offered through these Shakespeare tales is girl to teacher of children (or apprentice mother) to mother.
In Juliet’s case, as treated by Cowden Clarke, her education is at fault for her eventual tragic end. Ignored by her parents through her girlhood, her faulty education accounts for her outspokenness and self-will, and it is these qualities, not her star-crossed fate, that lead to her death. This was the same period as Henrietta and Thomas Bowdler’s The Family Shakespeare (1807), in which many of Juliet’s lines are scrubbed and she becomes more submissive; and of Helen Faucit, an actress who, at the same time that William Charles Macready was restoring the performance of Shakespeare’s original texts, deleted even more of Juliet’s lines than usual. Her performances were called “types of noble womanly nature” and a reviewer commented: “her delicacy of taste and elevation of thought have succeeded in banishing from [Shakespeare’s] characters…all that, from the change of manners, sometimes in the hands of others, has become painful. Such is the atmosphere of purity with which she is surrounded, that nothing at variance with it can enter…” And yet actresses at this time were still equated with prostitutes.
The idealization of Shakespeare’s heroines as “types of noble womanly nature” had the effect, as Lois Potter notes in this anthology, of simplifying, Bowdlerizing, the plays. But it also simplified and silenced the women. A noble, virtuous Juliet, as in Faucit’s portrayal, was, compared to Shakespeare’s original, a silent woman. Let me return to one of my original questions: was Shakespeare a proto-feminist or was he patriarchal? My history of Juliet thus far suggests that he was, somehow, a sixteenth century feminist. Now let’s look at The Taming of the Shrew.
It is almost unbelievable that Katherina does not have more lines than Juliet or Rosalind. She is outspoken. She is argumentative. She is everything we love about Juliet and Rosalind cranked up a few notches. But on her character and her play, female editors have been almost universally silent. There have been two female editors of the play so far: Ann Thompson and, commissioned by Thompson for the Arden series, Barbara Hodgson.
What do we do with Shrew? A woman is physically abused by her husband until she shows symptoms of Stockholm syndrome, and only then, the play seems to suggest, will they live happily ever after. Bianca, the woman who is not abused during her wooing and wedding, shows signs of becoming a shrew and a scold afterward. Which method is being held up as ideal?
Farah Karim-Cooper’s essay in Women Making Shakespeare notes that some modern productions have found the only way to make the play palatable to modern audiences is to set it in the past. The guilt we feel over Katherina’s treatment by Petrucchio is only palatable at a distance of 450 years. But she also provides some hope in context: ideal sixteenth century wives were both obedient and silent. Obedient Katherina becomes, but never silent; the play ends with a lengthy speech from Katherina. She has a voice! It is possible that Shakespeare is unravelling the courtship rituals that called for a false hierarchy between men and women that would be immediately undermined or reversed within marriage. Bianca has the appearance of submission — but which would you rather have as a marriage partner? Nevertheless, there remains the troubling feeling that this play, and therefore Shakespeare, approve of Petrucchio’s behavior, and the abuse and silencing of a woman in the name of ruling a wife.
When actresses were first allowed to perform publicly in England, they generally did not address the audience directly in a prologue or epilogue. As Sonia Massai notes in this anthology, when they did, their speeches stressed the “exceptional quality” of the occasion. Then, as this essay traces, for much of the history of women’s performance of Shakespeare, actresses were associated with prostitutes, even up to the Victorian era. Ailsa Grant Ferguson’s essay takes this history up to World War I, talking about Gertrude Elliott’s work to legitimize female performance and management through the creation of “the Shakespeare Hut” to entertain soldiers passing through London. This all-female Shakespeare was acceptable because it was “war work,” because it was patriotic, and because, the actresses for the most part being middle aged, their performances were positioned as maternal care, and thus a-sexual, for the very young men about to go to the front.
One of the last essays in the anthology, by Kevin A. Quarmby, talks about the contemporary performance trend of “sexing up” Goneril in King Lear, and suggests that both in contemporary criticism and in performance, transgression by a woman, even political transgression as in Goneril’s case, is still seen as equivalent to sexual transgression. Because Goneril betrays a man (Lear) politically, therefore she is also a whore. This makes her little better than a cipher — sexualizing her deprives her of her right to a legitimate political voice, and therefore silences her.
What has changed in 450 years of performing, reading, writing Shakespeare? The history of women interacting with Shakespeare’s plays is also the history of women’s rights, suffrage, and of the feminist movement. It is a history of women being silenced and of finding ways to speak out anyway. Shakespeare has been, and is, an uneasy ally in this history. He complicates but also enriches our idea of what a woman is. Too often we are still Katherinas, forced to compromise our dignity in order to retain our voice, or else our insistence on speaking is blamed for our tragedies, like Juliet. But the reason why we still read Shakespeare’s women, is that they are women. Goneril, Juliet, and Katherina are finally not ciphers. Whatever else they may be, they are true women, and they have true voices.
Image via Wikimedia Commons
My high school’s theater department put on two Shakespeare plays a year, and when I was old enough to audition, I ran to the front of the line – not to read for the part of Juliet in that year’s headlining Romeo and Juliet, but rather for her lesser known, and much more intoxicating complement, the lady Beatrice in Much Ado About Nothing. Miraculously, I got the part. At the time, I was young and knew little of the play save the recent Kenneth Branagh-Emma Thompson adaptation, but quickly found myself madly in love with this character: a strong-willed, funny, independent wordsmith. For years, I envisaged Beatrice and her ilk as the exemplar of female empowerment in literature and theater, and yet while I’ve personally fixated on the Beatrices that have populated the centuries, I’ve done so because it is clear they were the exceptions to the rule. The rule, in fact, was Juliet. It was Beatrice’s younger cousin, Hero. It was Bianca and Disney princesses and anything that presented an ingénue as a leading lady. Sadly, for every Scarlet O’Hara, there is a Melanie Hamilton offsetting an absurdly independent protagonist. Clearly this paradigm is what has propelled literature forward, but lately, as I’ve explored my bookshelves, it seems as though this requisite stock character, as antiquated as its stock cousins, is finding its way off the pages of great novels, leading me to believe that she has been graciously euthanized by literary fiction. And thankfully so.
The ingénue in contemporary fiction is a powerful mirror against which society is reflected, and its notable absence is indicative of ambitious thirst for change. That there has been a gradual evolution on the page that is sadly not reflected even off the page for female writers, female politicians, and female business leaders is significant in this long-awaited evolution. Pinning down the issue to the paltry representation of women writers in reviews and literary journals as explored through the latest VIDA counts extrapolates the problems women writers face in representation, coverage, and reviews, and there is much work to be done to establish equality. Yet this lack of real estate does not mean that there is a deficit of powerful female characters written today.
When looking directly at the content of contemporary fiction, however, I am as excited as I was when I got the part of Beatrice back in the mid-1990s. Writers, both male and female, are creating strong, authentic characters who can stand on their own. There may be criticism on the outside, but directly on the page, this glorious affirmation of strong-willed women drives me as a writer, as a lawyer, and as a woman, to know that we are represented on the page, whether instantly likable or not. As an aside, perhaps the hotly contested debate currently surrounding this question in fact hinges on the lack of ingénues populating today’s great novels. A simple glance at titles reflects this: The Woman Upstairs, Look At Me, Gone Girl, State of Wonder, On Beauty, We Need to Talk About Kevin, The Hours, and even in non-fiction with Sheryl Sandberg’s Lean In. None of these books apologizes for anger, frustration, strength, manipulation, power, emotion, sensuality. And mostly, none of these books requires a supporting ingénue waiting in the corner, ready to cry foil to a Lizzy Bennett or Jane Eyre or even Catherine Earnshaw.
In contemporary society and fiction, women run companies, perform surgeries, and question their desire to even have children. Dr. Marina Singh and Dr. Anneck Swenson battle wits in the South American jungles of State of Wonder, almost inverting the stereotype by making an ingénue out of the missing male doctor, Anders; Eva Khatchadourian begs people to question her “traditional female values” by often wishing she never had a child in We Need to Talk About Kevin; and women of three generations dominate The Hours, portraying this very evolution of the literary female character in a single brilliant narrative. I could continue to list the novels, but it would probably exceed my word count, so instead, it’s probably better to review how we got to this point.
It’s not that strong women were absent from literature in the past, but rather that they were welcomed with antithetical reception: if not written amongst a flock of female stereotypes (read, “the villain,” the “mother,” the “nurse”), they may have needed the ingénue as a foil to the less commonly recognized strong women of the time. In contemporary culture, however, no one denies the presence of strong, successful, complex women in every facet of society, and likewise, readers are not shocked when they turn up in great literature. It is simply that contemporary literary fiction portrays a realistic society so that ingénues are no longer needed within the texts — as foils or otherwise.
When looking back at some of our most beloved “strong women in literature” from Shakespeare to Victorian England to the early 20th century, almost none of these women is allowed to exist on her own, almost as if the supporting ingénue (or another stock female character) must balance the strong woman so that society may rest. This seesaw of female identity so portrayed in literature of the past seemed necessary in order to propel forward movement. By having the rare and special woman on one end and the stock female (usually the ingénue) on the other, their interaction pushed the story forward, enabled the game of wits to persist, and flexed the narrative into motion.
Beatrice, the gloriously witty self-effacing, proud bachelorette of Much Ado About Nothing, vows never to marry and is teased, mocked, and pitied as a result, countered by the requisite companion ingénue in the banal Hero. Kate of The Taming of the Shrew, who we all know and love as the girl who just didn’t want to fit in, is deemed eponymously shrewish by her unabashed expression, and of course, is, of course, neutralized by her ingénue of a sister, Bianca. Portia, the brilliant heiress of The Merchant of Venice, stands initially as a stellar example of intelligence, power, and leadership, but in order to fulfill her needs as an ingénue, she must impersonate a man. Although pillars of force, these women cannot be fully portrayed without a veil of disbelief, either by unrivaled presentation beside a flattering ingénue or the forced portrayal of a man, so that societal equilibrium of the time is restored.
Fast-forward to early 19th century England, not far from the domination of yet another female monarch, and strong women in literature are still not singularly permissible. Elizabeth Bennett of Pride and Prejudice, the presumed model of the era, is a wonderfully suspicious, intelligent representation of female strength, yet still must be presented beside her exhaustively ingénuesque sisters, so that we all know how rare and special a creature she is. Lizzy Bennett is sublime, and I share a name and nickname with her, so I can’t help but beam with pride whenever she is listed amongst the feminist wonders of the literary world; but the sad truth is that she is so well cited because she is the outlier. Society does not yield a sea of stereotypes in order to hone in on a strong woman, and nor should literature require this pool of ingénues, out of which we may select and conclude that, indeed, Ms. Bennett is different.
Even in late 19th/early 20th century literature, women who battled this stereotype were plagued with depression and expropriated labels. In England, Virginia Woolf wrote of depression and isolation, while in America, Charlotte Perkins Gilman openly divorced her husband, but not before writing about post-partum depression in an incisive story that had never been seen before on the page. Sadly, these women committed suicide, and their autobiographical roles were neither accepted nor credible by the male literary establishment, reflecting yet another mirror of their times. Their characters, however, have lived on, refusing to succumb to literary archetypes. Had they been written as ingénues, they would have evolved into that other stock character of “the madwoman in the attic.” Unfortunately, by removing the label of ingénue and refusing to share the scenes with a classic ingénue, these characters and their architects met a tragic end.
Now, however, strong female characters reign aplenty in literature without their necessary ingénue escorts, slowly eroding the role of that stock accompanying character. It’s not that these strong female characters newly exist, or that they suddenly gained mass appeal, but rather that they are surviving on their own. They are flawed, beautiful representations of women that provide depth, understanding, and sympathy, regardless of their periodic unlikeable actions. They bear their identities proudly, and never require an accompanying convention to confirm their individuality, so that the role of the primary and supportive ingénue is no longer required.
I recently went to hear Isabel Allende speak about her latest novel, Maya’s Notebook. At the Q&A, a young aspiring female writer rose to ask a question that surprised a majority of the audience. “You write a lot of strong women in your books,” she said, before asking, “Has there been anyone who has influenced you?” Allende either didn’t understand the question or wanted to emphasize the lunacy of it, and after three attempts replied: “Do you know any weak women?” Needless to say, a resounding uproar of applause emerged from the previously unobtrusive audience. This is not a topic that is far from the consciousness of the literary establishment, nor is it one that should be. It is so prevalent on people minds and hearts precisely because of its relevance. Readers don’t want to see any more ingénues or stock characters. They want to see the people that they know, the strong women who populate their lives, because, as Isabel Allende so bluntly and perfectly stated, there really aren’t weak women.
I’m not naively suggesting that contemporary fiction has conclusively banished the ingénue from its pages; nor am I claiming that the character is close to her coffin in certain genres, but I am suggesting that that she should be. Fiction, as any vital art form, serves a purpose to reflect society in its emotional, environmental, and political nuances. It informs us, teaches us, reflects humanity in its reverie. If the ingénue, which may be dying in literary fiction, begins to fade in all genres of contemporary literature, if we accept the evolution of the young female protagonist in literature, we may stop expecting women off the page to play that stock role, as well. By exiling the word to the trash bin or perhaps feeling a little bit guilty whenever used, we might continue to represent women as they are – likeable or not. Powerful characters who sometimes want love, sometimes want power, ache with ambition and passion, refuse to be called ingénues, or any other pile of stock stereotypes. They are merely women who need no other label.
Image via Wikimedia Commons
To celebrate the 400th anniversary of William Shakespeare’s death in 2016, he’s getting a makeover. Jeanette Winterson is writing a cover of The Winter’s Tale, and Anne Tyler will be revamping The Taming of the Shrew for a 21st century audience. While you wait, watch Joss Whedon’s update of Much Ado About Nothing.
Several years ago a friend of a friend of mine received free tickets to a new production of The Taming of The Shrew in Washington D.C. and made the unfortunate decision of bringing me along. I grew dismayed as the play progressed, believing that it was perhaps impossible to try to reinterpret a play so rife with misogyny. I’ve listened to the many reasons people have provided for why this play is actually a critique of patriarchy, how the final scene is so obviously repellent that it is impossible for anyone, least of all Shakespeare, to be condoning these values. In researching others opinions, I found a review of Conall Morrison’s 2008 version of this play for The Royal Shakespeare Company by Peter Lathan, who stated “In our modern political correctness we tend to think that Shrew was a play about keeping women in their place, just as we relate Merchant (the companion piece to Shrew in the RSC Theatre Royal season) to anti-Semitism, but that, perhaps, says more about contemporary preoccupations than it does about Shakespeare, for certainly Conall Morrison’s Shrew is more about status than misogyny.”
In my mind, the fact that some people today do still find women and minority rights to be mere “contemporary preoccupations” rather than actual human rights issues, makes the issue of lauding or critiquing a new interpretation of an old play especially slippery. Generally speaking, new versions of older literary works strive to do one of two things: exalt the original author’s story, or else try to save it from the weight of its own history. I have always been particularly confused by some feminists’ desire to reignite old stories with female characters or else reinvent female characters from days yore. We have so few new stories that delve into current female experience, that taking the time to further empower these older works seems to actually reinforce the notion that literature is a man’s world, and that the most women can do is amend these staple stories, rather than writing new works of their own.
Tim Burton’s new version of Alice in Wonderland is in some ways a feminist dream. It contains a screenplay written by a woman, Linda Woolverton, who strives to provide her audience with a self-actualized Alice, an Alice who is a warrior, rather than a princess. In this new chapter, Alice is 19 years old and at the mercy of a decidedly anti-feminist Victorian age, in which her main option in life is marrying an unimaginative bore of a Duke who, his mother warns Alice, has “digestive issues.” Rather than heed the sage advice of her mother, Alice does not don a corset, but rather begins chasing a real life rabbit she seems to remember from her dreams. She falls deep down the rabbit hole where she ends up in “Underland”, welcomed by several talking animals, all of whom want her to be the champion who fights the terrifying Jabberwocky and, in doing so, defeat the evil Red Queen.
Perhaps on its own this would actually be a fantastically good story. The problem is, it bares little or no relation to the actual text of Alice in Wonderland, which is not a fantasy or action-adventure novel, but a small and clever little book, filled with imaginative puzzles, rhymes, word games and mathematical problems, much more akin to a female version of The Phantom Tollbooth or Harold and The Purple Crayon than Star Wars or Lord of The Rings. The original Alice was neither a princess nor a warrior; she was a little girl. The book is actually refreshingly free of gender stereotypes. Alice is portrayed as smart and imaginative, filled with wonder at the world around her, but the focus is never so much on Alice per say, as it is on the world itself. In some ways, the wonderful thing about Alice in Wonderland is that it provided girls with a story which centered around their perspective of a fantasy world, but could ultimately be relatable to a little boy as well. By drawing more attention to the gender norms of Victorian England, Woolverton actually creates issues of sexism which never existed in the original edition.
This decision by Woolverton and Burton is a shame for a variety of reasons. First, because there is nothing interesting or controversial about showing that Victorian women were dealt a tough hand, and as such, there doesn’t seem to be a compelling reason to force this particular trope onto this particular story. Second, it is reductionist. Why is it we have to see a woman play the role of a classic warrior in order to view her story as important enough to necessitate a big blockbuster movie? Lastly, it simply obscures the small joys that come from reading the original work. Many of Tim Burton’s films effectively capture the bizarre and otherworldly language of childhood; Alice in contrast seems like a composite of typical CGI images, chase scenes and the requisite action sequences that pop out of the screen, but fail to leave any sense of haunting after the credits roll on.
In the end, I find myself yearning for visions of female agency which are neither critiques of a patriarchal past, nor visions of an equally patriarchal future, wherein women are only valued if they are seen as tough and warrior like as their male predecessors. Perhaps Carroll’s original story worked because it wasn’t about what it meant to be a woman at all. Instead, it was about a particular girl and her particularly curious adventures into a world of nonsense so unique there still hasn’t been a film version which has really done it justice.
My Shakespeare intake is up sharply this season. So far, I’ve attended about one performance every six weeks. Two comedies (a .333 average), three tragedies (.500), and even one romance (.167). My mother, a high school English teacher, must be pleased with the numbers I’ve been putting up. And I’m prepared to testify before any grand jury that will have me that the only performance-enhancing drugs I’ve touched have been brewed from the choicest hops and barley.Here in New York, it’s possible to indulge in Bardolatry whenever you want. At least two Shakespeare productions are running on any given night. And of course, the plays are meant to be seen, rather than read. Or so say the experts. This week’s Shakespeare-in-the-Park performance of A Midsummer Night’s Dream left me wondering, though… are they right?Having read AMND thrice and having seen four previous stage productions, I was surprised at how many great speeches I’d managed to forget. “The lunatic, the lover, and the poet / are of imagination all compact,” Duke Theseus theorizes. “Be as thou wast wont to be,” Oberon tells a sleeping Titania, on the verge of reconciliation. “See as thou wast wont to see.” On a more Global level, though, the Shakespeare-in-the-Park production was a mess – part Broadway razzle-dazzle, part Three Stooges routine, part Ibsen. Rather than mining the subterranean connections between the play’s disparate tones and textures, director Daniel Sullivan seemed hellbent on obliterating them.Yes, it was free, on a beautiful night in the Park, and yes, there is fun to be had picking holes in any performance. But the contrast between this Dream and Michael Grief’s Romeo and Juliet (this summer’s other Shakespeare-in-the-Park offering) suggested a crucial lesson for any director of Shakespeare: one must surrender to the imperatives of the material, rather than trying to bend it to one’s will. Such a surrender does not slough off the burden of interpretation; indeed, it requires it. But Grief’s decisions about the nature of love and lust, the relative costs of innocence and experience, and the place of the individual in society, flowed from Shakespearean preoccupations; whereas the current production lacks a point-of-view on love, on imagination, or on anything at all. Sullivan’s rope tricks and glowsticks threaten not just to jazz up but to gloss over A Midsummer Night’s Dream.Grappling with the big questions Shakespeare wrestled into blank verse can yield a refreshlingly classicist take on a play, like Grief’s, or something as riotously new as the Wooster Group Hamlet. In the case of slightly weaker source material, such as The Taming of the Shrew, strong direction may produce something in between, like Propeller’s excellent staging at the Brooklyn Academy of Music… while commenting on our own times.When a director aims to displace the Bard’s magic with its own, however, I’d just as soon save my money, drag out my brokeback Riverside Shakespeare, and stage a play in the round of my own mind. Which doesn’t mean I’d ever pass up tickets to any live performance… provided someone else is buying.