Dear Writing Teacher,
We met at the University of Tampa this past week and you gave me your email address in order to get book suggestions from you. I’m working on a young adult novel in close third person with a decent amount of world building involved in the narrative. I’ve found it difficult to find contemporary novels (and short stories) that aren’t written in first person so any suggestions you have, I would really appreciate.
Thanks in advance for your help.
I have to admit that your question, initially, made me giggle. My in-house statistician hasn’t crunched the numbers yet (Nate Silver wasn’t available so I hired my dog, Omar Little, and, quite frankly, he sucks at the job), but I’m pretty sure the proportion of contemporary novels narrated in the third person is equal to those narrated in the first. Or at least it feels that way. I have so many good third-person novels to recommend to you! Stoner by John Williams. The Thin Place by Kathryn Davis. Off Course by Michelle Huneven. The Vacationers by Emma Straub. Everything I Never Told You by Celeste Ng.
(I’m basically walking through my house, calling out titles. I could do it all day. The Fever by Megan Abbott!)
Some of these books limit themselves to one character’s consciousness, like Stoner or Off Course. Others, like The Vacationers and The Fever, shift between multiple characters from chapter to chapter, or scene to scene. In these novels, the distance between the reader and the events of the narrator, or “the psychic distance” as John Gardner puts it, is fairly close. These narratives reflect what James Wood calls, in How Fiction Works, the free indirect style:
“As soon as someone tells a story about a character, narrative seems to want to bend itself around that character, wants to merge with that character, to take on his or her way of thinking and speaking.”
(If you haven’t read Wood’s book, you can read the first chapter here. And you can read Jonathan Russell Clark’s clever and helpful essay on close third here.)
The Thin Place is told in a more elevated, all-knowing third-person point of view that skips from one small town resident to the next, including a dog, which is fitting since the book is about the thin scrim between the cosmic and the mundane, and the connection between all things. Everything I Never Told You also shifts its third person perspective, between family members, and its narrator has more knowledge than anyone; the book’s first sentence, “Lydia is dead. But they don’t know this yet…” makes that clear, and it emphasizes just how little this family understands about itself. In both these novels, perspective reflects theme especially well.
If you’re trying for this more elevated perspective, I also suggest you read Edward P. Jones along with 19th-century masters like George Eliot. These writers alight on one perspective and then another and another, deftly providing access to a character’s most intimate motives in one passage only to gracefully move away to comment on the scene in the next. They drop Wisdom-with-a-capital-W and it’s great fun to read. (And write, I hope!) An omniscient third person narrator feels like a bodiless character who shapes our understanding of the narrative’s events.
One of my writing teachers declared on multiple occasions that the third person point of view was easier than the first person. I disagree; each is easy and difficult in different ways. The first person has always come more naturally to me. Its performative qualities are revealing; I discover who my character is via language use and voice tics, confession and truth-dodging. Most importantly, there isn’t the elasticity of psychic distance that exists in the third person, which requires control and intention so that the reader doesn’t feel like she’s riding a narrative tilt-a-whirl. It’s disconcerting to be deep inside a character’s psyche and then, suddenly, to see him from afar. I bet many first drafts of third-person narrations struggle with finding the best distance from which to tell the story.
I recommend you decide what your novel’s psychic distance is, and stick to it. If you’re after a closer third person perspective, keep in mind Wood’s image of the narrative bending around the character’s mind so that the language and observations reflect and imply that particular consciousness. Also, avoid using “seeing” verbs; instead of, for instance, “She saw the cup on the table,” just say something like, “The cup was on the table.” Since it’s a close third person, you don’t need to tell the reader who is doing the seeing — that’s already implied. It’s also easy to forget the body when writing in third person (just as it’s easy to forget the external world when writing in first person). One way to lessen the psychic distance between reader and story is to include physical experience: not what others see of the narrator, but how it feels, internally, to be this self: how it feels to be tired, to be restless, to be nauseated, and so on. (One of my pet peeves as a reader is when we learn about the hair of a protagonist from a (supposedly) close third person narration; people have very specific relationships to their hair, and they don’t view it, can’t experience it, from afar. If you’re gonna talk about a character’s hair, make sure it expresses the experience of having said hair, rather than something like, “She ran a hand through her shoulder-length straight auburn hair…” which puts me outside the character and her experience. In that example, I’m looking at the character, rather than seeing the world with her.)
Since your novel requires world building, I also recommend you read the last story/chapter in Jennifer Egan’s A Visit from the Goon Squad, “Pure Language,” which seamlessly depicts a future New York City and a music industry that caters to toddlers — or “pointers” as they’re known — from the third person perspective of a guy named Alex. As you read, mark the moments where Egan is providing the reader with expository information about the world. Where does Egan fit it in, and how? Perhaps more importantly, how do these passages reflect Alex’s psyche and and shape our understanding of him? For example, look at this passage, where he’s describing a woman he’s meeting for the first time:
Lulu was in her early twenties, a graduate student at Barnard and Bennie’s full-time assistant: a living embodiment of the new “handset employee”: paperless, deskless, commuteless, and theoretically omnipresent, though Lulu appeared to be ignoring a constant chatter of handset beeps and burps. The photos on her page had not done justice to the arresting, wide-eyed symmetry of her face, the radiant shine of her hair. She was “clean”: no piercings, tattoos, or scarifications. All the kids were now. And who could blame them, Alex thought, after watching three generations of flaccid tattoos droop like moth-eaten upholstery over poorly stuffed biceps and saggy asses?
I’m interested in how “handset employees” and “clean” are in quotation marks, which allows Egan to not only straight-up define these terms for the reader, but to show that Alex is apart from these communities. The phrasing of “All the kids” shows that Alex isn’t as young as Lulu. Overall, the description of her reveals that Alex is attracted to her — and also intimidated, I think. Egan could have left out the “Alex thought” in the last line — the sentence would still work without it — but its inclusion adds a few inches to the psychic distance, which perhaps gives Egan some flexibility of tone when describing this particular future.
Part of your quandary, of course, is that you’re writing a young adult novel, and I’m no longer giggling because, you’re right, there are far fewer third person examples in that genre. Why is that? My friend Cecil Castellucci, who will publish her 12th (!) young adult novel, Stone in the Sky, in late February, has her own litmus test for categorizing a book as YA. Her definition sheds light on why so many are told in first person:
For me, a book is YA when it has a young protagonist and the action is happening right now or has just happened. If a book has a young protagonist, but it is nostalgic or self-aware, then it is an adult book.
Castellucci argues that a YA book feels like it’s happening “in the now,” and that this sense of urgency allows the reader to feel as if she’s “on the journey with the character as they clue in and grow.” The first person, and in particular the first person present, provides the kind of immediacy that the YA genre so excels at. In the third person, a sense of “nostalgia and awareness,” which Castellucci says is usually present in adult books with young protagonists, might creep in.
Castellucci says there are beautiful examples of third person YA books, so I asked my friend Katie Coyle, who recently published her first YA novel, Vivian Apple at the End of the World, for her suggestions. She recommended Eleanor & Park by Rainbow Rowell, The Disreputable History of Frankie Landau-Banks by E. Lockhart, Code Name Verity by Elizabeth Wein, and Malinda Lo’s Ash and Huntress. The first two are examples of realism, the third is historical fiction, and Lo’s are fantasies.
Now that you have these recommendations, I suggest you ban the first person for at least six months. Read only novels written in the third person. Furthermore, try to read third person novels that have the same psychic distance you’re aiming for, be it close third, or an elevated omniscience, or something in between.
When I’m struggling with a technical challenge in writing, I bang my head against the wall, write and rewrite and write again, and seek out books that have mastered said challenge. It’s useful if the book’s content is wildly different from mine — that way, I don’t feel like I will accidentally crib its ideas. For instance, if you’re writing an epigrammatic novel about, say, the workplace, it would be helpful to read Mrs. Bridge by Evan S. Connell for its succinct and perfect short chapters. (See also: Dept. of Speculation by Jenny Offill.) You’ll be wise to avoid books that share your subject matter. It’s form you’re after, not content.
Aside from all that, I’d recommend writing, to yourself, your reasons for choosing the third person. Why does the story need to be told this way? It’s useful for me to articulate and defend my choices when I’m about halfway through a first draft. This lets me move partly (but never wholly!) out of intuition and into intention. Intention feels powerful.
“Good luck, Tiffany!” she typed as she tucked her silky blonde hair behind her ear.
The Writing Teacher
This series was first conceived in 2004 as a way to get a fledgling website about books through a busy holiday season. Realizing I had spent much of that year with my nose in books that were two, 20 or 200 years old, I was wary of attempting to compile a list of the year’s best books that could have any hope of feeling legitimate. It also occurred to me that a “best of” list would not have been true to the reading I did that year.
Instead, I asked some friends to write about the best books they read that year and was struck when each one seemed to offer up not just an accounting of books read, but glimpses into transporting and revelatory experiences. For the reader, being caught in the sweep of a book may be one of a year’s best memories. It always feels like we’ve hit the jackpot when we can offer up dozens of these great memories and experiences, one after another, to close out the year.
And so now, as we kick off another Year in Reading, please enjoy these riches from some of our favorite writers and thinkers.
For our esteemed guests, the charge was to name, from all the books they read this year, the one(s) that meant the most to them, regardless of publication date. Grouped together, these ruminations, cheers, squibs, and essays will be a chronicle of reading and good books from every era.
We hope you find in them seeds that will help make your year in reading in 2015 a fruitful one.
As in prior years, the names of our 2014 “Year in Reading” contributors will be unveiled one at a time throughout the month as we publish their contributions. You can bookmark this post and follow the series from here, or load up the main page for more new Year in Reading posts appearing at the top every day, or you can subscribe to our RSS feed or follow us on Facebook or Twitter and read the series that way.
Stephen Dodson, co-author of Uglier Than a Monkey’s Armpit, proprietor of Languagehat.
Anthony Doerr, author of All the Light We Cannot See.
Haley Mlotek,editor of The Hairpin.
Jess Walter, author of We Live in Water.
Karen Joy Fowler, author of We Are All Completely Beside Ourselves.
Isaac Fitzgerald, editor of BuzzFeed Books and co-founder of Pen & Ink.
Emily Gould, co-owner of Emily Books, author of Friendship.
Blake Butler, author of 300,000,000.
Janet Fitch, author of White Oleander.
John Darnielle, vocalist for the band the Mountain Goats and author of Wolf in White Van.
Leslie Jamison, author of The Empathy Exams.
Matthew Thomas, author of We Are Not Ourselves.
Eula Biss, author of On Immunity.
Garth Risk Hallberg, contributing editor for The Millions and author of A Field Guide to the North American Family.
Laura van den Berg, author of the story collections What the World Will Look Like When All The Water Leaves Us and The Isle of Youth.
Hamilton Leithauser, frontman for The Walkmen.
Celeste Ng, author of Everything I Never Told You.
Mark O’Connell, staff writer for The Millions, author of Epic Fail.
Janet Potter, staff writer for The Millions.
Lydia Kiesling, staff writer for The Millions.
Nick Ripatrazone, staff writer for The Millions, author of Good People.
Michael Bourne, staff writer for The Millions.
Ben Lerner, author of 10:04.
Jane Smiley, author of A Thousand Acres.
Phil Klay, author of Redeployment.
Emily St. John Mandel, staff writer for The Millions, author of Station Eleven.
Tana French, author of Broken Harbor.
Yelena Akhtiorskaya, author of Panic in a Suitcase.
Philipp Meyer, author of The Son.
Edan Lepucki, staff writer for The Millions, author of California.
Jayne Anne Phillips, author of Lark and Termite.
Maureen Corrigan, author of So We Read On.
Porochista Khakpour, author of Sons and Other Flammable Objects.
Tiphanie Yanique, author of Land of Love and Drowning.
David Bezmozgis, author of Natasha: And Other Stories.
Lindsay Hunter, author of Ugly Girls.
Dinaw Mengestu, author of All Our Names.
Eimear McBride, author of A Girl is a Half-Formed Thing.
Caitlin Moran, author of How to Be a Woman.
Rabih Alameddine, author of An Unnecessary Woman.
Walter Kirn, author of Blood Will Out.
Michael Schaub, staff writer for The Millions.
Nick Moran, social media editor for The Millions.
Hannah Gersen, staff writer for The Millions.
Kaulie Lewis, intern for The Millions.
Rachel Fershleiser, co-creator of Six-Word Memoirs and co-editor of Not Quite What I Was Planning.
Rebecca Makkai, author of The Hundred-Year House.
Gina Frangello, author of A Life in Men.
Hannah Pittard, author of Reunion.
Michelle Huneven, author of Blame
Lydia Millet, author of Mermaids in Paradise.
Michele Filgate, essayist, critic, and freelance writer.
Carolyn Kellogg writes about books and publishing for the Los Angeles Times.
Emma Straub, author of The Vacationers.
Ron Rash, author of Serena.
Darcey Steinke, author of Sister Golden Hair.
Tom Nissley, author of A Reader’s Book of Days and owner of Phinney Books in Seattle.
Molly Antopol, author of The UnAmericans.
Scott Cheshire, author of High as the Horses’ Bridles.
Caitlin Doughty, author of Smoke Gets in Your Eyes.
Julia Fierro, author of Cutting Teeth.
Bill Morris, author of Motor City Burning.
William Giraldi, author of Busy Monsters.
Rachel Cantor, author of A Highly Unlikely Scenario.
Jean Hanff Korelitz, author of You Should Have Known.
Tess Malone, associate editor for The Millions.
Thomas Beckwith, writer and project assistant for The Millions.
Matt Seidel, staff writer for The Millions.
Elizabeth Minkel, staff writer for The Millions.
Michael Robbins, author of The Second Sex.
Charles Finch, author of The Last Enchantments.
A Year in Reading: 2014 Wrap-Up
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
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In high school I had a zine with my friend Vanessa. It included our poetry and short stories, and for the cover of the first issue we used a label maker to spell out its title. After we’d put out one or two issues, I received a polite request from a man in prison, asking me to send him a copy. He paper-clipped two dollars in cash to his request. For some reason, I put the letter aside. From time to time, I took out the request, read it, and then put it back. Years later, I spent the money.
To borrow a phrase from Bennie Salazar, the record producer in Jennifer Egan’s A Visit From The Goon Squad, this is one of my “shame memories.” Sometimes when I can’t sleep, or when I’m having a particularly low day, I think about the guy in prison who wanted to read my zine, and I wonder why I never sent it to him, why I spent his two bucks on lip balm or a soda or whatever. What shames me the most is that there was no reason why I didn’t send him the zine. I just…didn’t. I had planned to, but something, perhaps the teenage trifecta of distraction, malaise, and self-absorption, held me back. I’m also ashamed that I think about this so much. As if my juvenile zine really mattered all that much to anyone.
Lately, I’ve been thinking: If I were a fictional character, would readers hate me?
In her essay “Perfectly Flawed” Lionel Shriver writes, “Surely if fiction recorded the doings only of good campers who anguish about climate change and buy fair trade coffee, novels would be insufferably dull.” I agree. As a reader, my only rule is that a character be interesting. I also have a taste for the quote-unquote unlikeable set: Eva Khatchadourian from Shriver’s We Need to Talk About Kevin; Sheba and Barbara from Zoe Heller’s Notes on a Scandal; Undine Spragg from Edith Wharton’s Custom of the Country. I love that they’re barbed, delusional, judgmental, thorny, damaged, and/or vulnerable. As Roxane Gay writes, “I want characters to think ugly thoughts and make ugly decisions. I want characters to make mistakes and put themselves first without apologizing for it.”
Every couple of months there’s a new defense of unlikeable characters (see: Claire Messud’s take) or likeable ones (see: Jennifer Weiner’s), and this conversation often returns to our cultural expectations of women. Recently, Emily Nussbaum wrote about “The Female Bad Fan” for The New Yorker. These are “the fans of shows with female protagonists, both comedies and dramas, who crave not bloodshed but empowerment.” Nussbaum writes:
The Mindy Project is a sitcom about a woman poisoned by rom-coms, but it offers up its own romantic-comedy pleasures. Female viewers, especially, have been trained to expect certain payoffs from romantic comedies, vicarious in nature: the meet-cute, the soul mate, and, in nearly every case, a “Me, too!” identification. Without “Me, too!,” some folks want a refund.
I’ve come across something similar with my own novel, California, which is marketed as a literary post-apocalyptic novel, but is also a study of a young marriage. While many readers tell me they like the wife, Frida, many do not. Readers on Goodreads or Amazon have expressed this opinion, but so have a couple critics: in the Washington Post, for instance, Sara Sklaroff remarked that Frida “isn’t much of a heroine. She’s annoying, self-centered and tragically naive.” I was surprised that Sklaroff hated Frida as much as she did, and even more puzzled that she didn’t also have trouble with Cal, Frida’s husband; to me, they’re both flawed. I was surprised, too, that character likability was a central focus of the review.
To be honest, the negative reactions to Frida have given me a wee bit of a complex. I’ve found myself wondering about my own actions, about the way I’ve hurt this or that person, or felt slighted about some insignificant thing someone said to me. The way, in college, I asked, “What’s with the hat?” to a Mennonite at the movies. The shame memories are running on repeat these days, is what I’m saying.
Frida isn’t like me: she is impetuous and secretive, she acts based on emotion and intuition, and she’s a slacker. Cal isn’t like me either: he is more hesitant, reserved, and adaptable than I am. These characters frustrated and disappointed me, but I always found them compelling. Likability wasn’t part of the equation; I simply wanted to write about these two specific people, alone and together in the woods, mourning their pasts and trying to stay hopeful. If anything, I was interested in setting a small-scale drama within an “end-of-the-world” situation. What if, at the end of the world, we aren’t our best selves–we’re just ourselves?
(This summer I read The Hunger Games and though I’d love to be as brave as Katniss, I doubt I would be. Maybe the post-apocalyptic genre has trained us to expect characters to break free from the shackles of pettiness and resentment and grief in the face of world-ruin. I’m interested in the characters who don’t or can’t do that.)
I decided to ask two fellow writers about their experience with the “unlikeable” issue. Jean Hanff Korelitz told me that by the time her new novel, You Should Have Known, came out in March, readers’ dislike for her protagonists had “risen to a general din…even from readers who liked the novel very much.” She went on:
‘I just didn’t like her’ is a phrase I read over and over again on Goodreads and Amazon, about the protagonist, Grace Sachs (a woman who has so many problems — missing, probable murderer and adulterer husband, exploding career, global humiliation, etc.– that reader reviews would be pretty far down on the list).
The whole phenomenon made me take stock of the female characters I’ve gravitated to over the years: Lizzie Bennet? Becky Sharp? The strange, probably mentally ill narrator of Marilynne Robinson’s Housekeeping? Would I truly have wanted to take a spa weekend with any of them? When had that become a requirement for appreciating a fictional character?
When I asked Jean what’s on her mind as she creates a character, she said, “I seem to have this compulsion to take women who appear strong, fortunate, “self-actualized,” and rip them to shreds, then see what they make of themselves after that, how they claw their way back.” She continued:
I think there’s an essential feminism at work here…not that I am in the habit of quoting Therese Giudice (she of the indelible “ingredientses” for the cookbooks she — God help us — writes), but her most recent Real Housewives tagline — “You never know how strong you are until it’s the only choice you have…”–could serve the protagonists of most of my novels. Women really are strong when they have to be. And that, to me, is far more compelling than finding your “bestie” in the pages of a novel.
Since receiving Jean’s words of wisdom, I’ve been thinking a lot about what I want to see in fictional characters, no matter the gender: I want them complex and realistic, and also surprising. And for female characters, it’s particularly important to me that they have the freedom to be whatever they need to be, whether it’s strong, or weak, or ice-cold, or vulnerable, or all of the above. After all, my real-life best friend can be all of those things, and I still love her.
Author Emma Straub helped me put this all in perspective. A small contingent of readers don’t seem to like her character Franny, who is the matriarch of Emma’s novel The Vacationers. (Which is weird to me, as Franny is funny, an excellent cook, and she’s being pretty pleasant in the wake of her husband’s infidelity.) Emma is wonderfully sanguine about the issue:
I certainly never intended to make my characters either likable or unlikeable — my goal with the characters in this book was to make them as real as possible. Warts and all. I always liked them, but I don’t think that’s even the point. I wasn’t surprised when some readers didn’t, because I saw them as three-dimensional human beings, and god knows it’s hard to find one of those that you don’t find in some way lacking or imperfect. I truly could not care less if readers feel differently.
I also think there’s a big difference between a character being unlikeable (whatever that means) and it being unpleasant to spend time reading about them. I have put down many books because I didn’t like the experience of reading them, but that has nothing at all to do with whether or not the characters in those books seemed like people I would want to hang out with. That’s my question, I suppose, for the people who keep bringing this horseshit up. Are they complaining about not enjoying the book, or that they don’t want to have tea with the characters? Because if it’s the former, for godssake, stop reading!
I grew up in a house built on horror novels, so I’ve spent my entire life reading books about serial killers and pedophiles and assorted other creeps. Are those unlikeable characters? To some people, probably.
Traditionally, the Unlikeable Character in fiction is created with authorial intention. You, as the reader, recognize the cues that the person you’re reading about is alienating or reprehensible, and it’s clear that such characterization is part of author’s aesthetic project. (Unreliable Characters, a la the infamous butler in Remains of the Day, are also traditionally revealed this way). But what if a character isn’t Unlikeable, but unlikeable? What if you just didn’t like him or her? That’s a valid personal response, and certainly a good a reason as any to stop reading. But it’s such a personal response that it’s irrelevant to the critical gaze.
Part of me is embarrassed that I unintentionally wrote characters that are so insufferable–at least to some readers. It’s like holding a glass up to a door, behind which strangers are describing how terrible you–or worse, your children!–are. I can’t help but keep eavesdropping.
At the same time that I emailed Jean and Emma, I also sought out readers who couldn’t stand Frida. This was part anthropological experiment, part focus group. I felt like, if I could just get some answers, I might understand my own book a little better.
I stumbled upon Susan’s review on Goodreads. In it, she details how much she couldn’t stand any of the characters in California. It’s a very funny rant, which begins, “I don’t remember ever before reading a book where I so hated all of the pieces yet so very much enjoyed the book as a whole.”
When I asked Susan when exactly her antipathy began, she told me, “I actually disliked Frida from almost the first page. She immediately seemed crass and spoiled to me.” In the first scene, the reader learns that Frida treasures a turkey baster, purchased before leaving Los Angeles, which even Cal doesn’t know she possesses. Susan said, “The turkey baster was so bizarre… I got what it was about, but the fact that it was so frivolous and silly, combined with the fact that the very first thing I learned about her was that she was keeping secrets (STUPID secrets!) from her husband just turned me off.”
Susan’s reactions fascinated me. One, that frivolity would be damning, rather than revealing, or that a reader would require a secret be grave, especially when it’s between a husband and wife. I’m reminded of the time someone told me they hate to dance, as in, they never ever feel the urge to move to music, even when alone. Wow, I thought, people sure are different from me!
(Susan also hated that Frida “seemed to be entirely defined by the men in her life.” I hate that, too.)
Susan had some choice words for Cal: “The truth is, I actually hated Cal more than Frida. I thought he was a pompous pseudo-intellectual hipster ass.” Sheesh, Susan, tell me how you really feel! Generally, she interpreted Cal and Frida through the lens of their white privilege. That interpretative model poses a powerful question about characterization: how much is our identity, and our actions, dictated by race and class? But, then again, if a reader traces everything about Frida and Cal back to their white privilege, that means I’ve failed, in some way, to make them fully human. It also might suggest that there’s a lower tolerance for white privilege in the post-apocalyptic landscape; some readers want the end-of-the-world to slough off such burdens. (To me, Frida and Cal are victims of late-capitalism, and also products of it. Aren’t we all.)
Another reader, Shayna, answered my call on Tumblr for anyone who hated Frida. She said she was bothered by Frida’s decision to take a Vicodin while pregnant. And, again, she took issue with Frida withholding information, especially from Cal. She wrote, “I just found this so stupid and selfish.” It’s true, Frida does some pretty stupid and selfish stuff, as does Cal. I suppose, as a writer, I’m interested in the stupid, selfish choices we make.
Hearing from Shayna and Susan brought me some peace, for I can’t control how people react, nor should I want to. I am honored that my novel elicited strong reactions to my characters, and I’m heartened that both readers enjoyed the book despite (or because of!) these reactions. Both agreed that there’s often a double-standard for female characters. Shayna said, “A women is whiny or bitchy and ruins the story whereas a male is mean or surly and [that] just makes him interesting or an anti-hero.”
Susan said, “I am a huge, huge fan of Gillian Flynn, the primary reason being that she’s not afraid to write female characters who are evil, psychotic, violent, and messed up in every possible way. I find that so much more empowering and compelling as a female reader to hear about those women than about the perfect, nice, likeable, and usually totally unrealistic female characters you find in most novels.”
Susan’s tastes align with mine, and with many other readers’. Right now there are so many complex female characters for us to encounter on the page and screen, particularly quote-unquote unlikable ones, from Amy Elliott-Dunne of Gone Girl, to the (less murderous) Hannah Horvath of Girls. I, for one, can’t turn away from these women, and I won’t.
I won’t turn away from the characters who stem from my own dark, muddy mind, either.
Image via amysjoy/Flickr
Perhaps you have just ended a blistering affair. Perhaps you have just discovered your significant other’s blistering affair. Perhaps you are contemplating embarking on one – or ejecting from one. These three books will help.
If it is your own affair you are concerned with, consider turning to A Vindication of Love: Reclaiming Romance for the Twenty-First Century by Christina Nehring. Nehring looks at love in its myriad forms through the lives and creations of writers, poets, philosophers, and artists, many of whom were rather badly – or let us say unconventionally – behaved.
Start with the chapter “Love as Transgression,” which helps explain how and why love often arises “out of obstruction and illegitimacy.” Think Romeo and Juliet, the antagonists in Les liaisons dangereuses, Madame Bovary, and, of course, Anna Karenina. But “Love as Transgression” tells the story of the mythological 12th century lovers Tristan and Iseult. Kept apart by marriages to other people, imprisonment and self-imposed exile (Tristan was a knight after all) they kept finding ways to come together anyway – through disguises, secret trysts, an escape to a nearby forest, and, finally, a deathbed reunion. They knew that love “is about breaking boundaries between people and about breaking boundaries of propriety.” And that love “is always against something as ardently as it is for somebody.” But after all that passion, all that breakage, sometimes you are left with only wreckage. And that is the time to read the chapter “Love as Failure.”
You might also read “Love as Failure” if you find yourself on the losing end of an affair. “Most great passions, in some sense, are failures,” Nehring writes. Consider Dante, Petrarch, Madame Butterfly, Carmen. Or Abelard, the medieval scholar who made love with his student Heloise (“My hands strayed oftener to her bosom than to the pages; love drew our eyes to look on each other more than reading kept them on our texts … Our desires left no stage of lovemaking untried …”) until he is castrated by her enraged uncle, joins a monastery, and persuades Heloise to enter a convent. After twelve years of silence between them, Heloise writes him a letter, and a new chapter of their spectacularly failed love begins – “Abelard responds to her in a way he has never responded to another human being in his life … with intimate reflections and ambitious theories, hymns and precepts, prayers and sermons … [and] Abelard’s dying wish was to be buried near Heloise.” Who knows what will spring from catastrophe?
This question is nearly impossible to answer when the catastrophe is fresh. Emma Straub’s tart new novel, The Vacationers, is a very different sort of book – a potential beach-read as much as a primer on affairs and their recovery – where we learn on the very first page that Jim Post has transgressed. Packing for a two-week family vacation on the island of Mallorca, he wishes he could leave out “the last year of his life … the way Franny looked at him across the dinner table at night; the feeling of himself inside a new mouth for the first time in three decades … the emptiness waiting on the other side of the return flight, the blank days he would have to fill and fill and fill.” Details of his affair are revealed slowly, as are the affairs of nearly everyone else in the book: Jim’s son Bobby, Franny’s best friend Chuck, and Jim and Franny’s daughter Sylvia’s traitorous best friend.
There is temperance and understanding – “Marriage is hard. Relationships are hard … We’ve all done things.” – as well as raw anger and blunt perspective – “Yes, we’ve all done things. I’ve done things like put on thirty pounds. He’s done things like put his penis inside a twenty-three-year-old. Don’t you think one of those is significantly worse?” Read The Vacationers if you want your tragedy leavened with a bit of farce, your compassion enlivened with a bit of acid, your lack of forgiveness tempered with an abiding love. “The human heart [is] a complex organ at any age,” Straub reminds us, and then guides us through its chambers.
And then there is Anna Karenina. Of course there is Anna Karenina. There is also Flaubert’s Madame Bovary or Graham Greene’s The End of the Affair or Robert James Waller’s The Bridges of Madison County (remember that craziness?). But if you really want to get over an affair, to see an affair clearly from start to finish, to see what wind fills its sails and what trash lies in its wake, surrender yourself to 817 pages of gorgeous, harrowing, revelatory Tolstoy.
We all know the shorthand version: girl meets boy, girl (thinks she) loses boy, girl meets train. But that is only one layer of this matrëška of love and loss. Before we meet Anna, before we meet Vronsky, on the very first page and in the very second sentence we are plunged into a family’s chaos because of an affair: “The wife had found out that the husband was having an affair with their former French governess …” And thus begins Anna’s sister-in-law Darya Alexandrovna Oblonskya’s story of anguish, disappointment, resignation, and transcendence. Anna’s story begins soon after, when she meets Vronsky, who provokes in her “a strange feeling of pleasure” as well as “a fear of something.” She is right to be both pleased and afraid, for she and Vronsky will embark on an affair that leaves more than a few casualties in its wake: an abandoned spouse, two abandoned children, a ruined career, a tarnished innocence, two suicide attempts (one of them successful); at least six hearts bruised, broken, shot at or run over. Orbiting around this dark sun are the lesser affairs of Anna’s brother Oblonsky, Levin’s brother’s relationship with a former prostitute, Levin’s own dalliances before his marriage to Kitty, the delicate dance that leads to Kitty’s friend Varenka’s almost-proposal, and various flirtations and trysts in their social circle.
What Tolstoy does so beautifully is show all the ups and down of an affair, from the childlike glee that illuminates a woman in love (“‘It’s late now, late, late,’ she whispered with a smile. She lay for a long time motionless, her eyes open, at it seemed to her that she herself could see them shining in the darkness.”) to the strange internal transformations obsessive love can bring (“What is that on the armrest – a fur coat or some animal? And what am I? Myself or someone else?”).
Whatever state of an affair you are in – the electrical beginning, the increasingly complicated middle, the bang or the whimper of the end, the terrible discovery of someone else’s affair or the arid time that comes before the next, the lovers in Anna Karenina will walk with you, teach you, warn you, encourage and console you. If you want to read how artists and their creations navigated these treacherous waters, try A Vindication of Love. But if a Spanish beach or private pool is more your speed, kick back with The Vacationers. For an acute case, read all three.
Image via rvoegtli/Flickr
Book Three of Karl Ove Knausgaard’s My Struggle is out this week, as is a new novel by Millions contributor Emma Straub. Also out: The Lobster Kings by Alexi Zentner; The Untold by Courtney Collins; Above the East China Sea by Sarah Bird; Fourth of July Creek by Smith Henderson; and a new volume of the Collected Works of Gerard Manley Hopkins. For more on these and other new titles, check out our Great 2014 Book Preview.
Martha Graham once said, “No artist is pleased. There is no satisfaction whatever at any time.” As extreme as it sounds, it’s often true; being pleased with one’s work can lead to complacency. In her latest novel, A Tale for The Time Being, Ruth Ozeki writes about the Sixth Patriarch of Zen, who compared truth to the moon in the sky. “Words are like a finger. A finger can point to the moon’s location, but it is not the moon.” Ah, how many times have I tried, and failed, and tried again, and failed again, to render the world into words! That pesky, beautiful moon!
As much as I wring my hands about writing, I also can’t deny the small satisfactions it offers me. Be it a turn of phrase, an image, a moment between characters — these are tiny but distinct pleasures that I can revisit anytime I flip through my work. It’s miraculous that these little darlings didn’t get killed in the rewriting process. My work never lives up to the dream I have of it in my head and that’s the way it should be; Martha Graham calls this “a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” It’s the tension between this “queer divine dissatisfaction” and the fulfillment of writing something that pleases me, however minor, that makes me want to write at all. The flaws of my novel, California, are in conversation with its strengths.
And no strengths are too small! For example, I’m especially proud of my description of coconut cake: “She’d never much cared for the taste, but she loved how it looked: as if a cake had grown fur.” I also love the fact that a T-shirt bearing the words OFFICIAL PUSSY INSPECTOR made its way into a dystopian novel — because it makes me laugh, and because it’s a phrase from the poem “Valentine” by my friend Kiki Petrosino.
I decided to ask some writers I admire to share one or two little delights from their latest or forthcoming books. Their answers made me all the more keen to read their work. Darlings, indeed.
Cristina Henriquez, The Book of Unknown Americans:
Here are a handful of turns-of-phrase and full lines for which I feel unaccountable affection:
“…a traffic jam of silence…”
“Sleep was like wealth, elusive and for other people.”
About blame: “You could trace it back infinitely. All these different veins, but who knew which one lead to the heart?”
“Maybe it’s the instinct of every immigrant, born of necessity or longing: Someplace else will be better than here.”
Megan Abbott, The Fever:
For me, it was two things that found their way into my novel:
1) The mysterious weather of upstate New York, where I lived for a year, including lake effect snow and other meteorological oddities that struck me as more akin to Emily Bronte or Poe than to any experience I’d ever had in “real life.”
2) The inclusion of Rumple Minze, a favorite late-night drink first recommended to me by my friend, the writer Jack Pendarvis. The weird thing is he only suggested it after I’d finished The Fever, which gives the novel (or, more likely, Jack) a certain premonitional quality. I even got to include the fact that if you put Rumple Minze in a White Russian, it’s no longer a White Russian. It’s a Cocaine Lady.
Justin Taylor, Flings:
There’s a story called “A Talking Cure” in my forthcoming story collection about a pair of engaged academics, and I had a great time making up their respective Ph.D. projects. The male protagonist, Zachary, is working on a dissertation about “ideations of Confederate masculinity in late 20th-century Southern fiction,” which gave me an excuse to pay tribute to a couple of writers I admire — Padgett Powell and Barry Hannah — while also having a little fun with them. (Powell’s novel Mrs. Hollingsworth’s Men is bracingly clear about its disdain for precisely the kind of academic work that Zachary does, and it’s hard to imagine Hannah getting past the word “ideations” without reaching for a drink, and maybe a handgun.) But the true depths of self-reference are plumbed not by Zachary but by his fiancé, Lacey Anne, whose work “concerns the appropriation of mythological and folk motifs for use in massive multiplayer online role-playing games.” This is a real thesis idea — quoted verbatim — that I had when I was an undergraduate and tempted to pursue academic theory instead of creative writing. Figuring out that I had exactly nothing to say about this topic beyond the single sentence fragment quoted above was a crucial step in my coming to terms with the fact that I was not cut out to be an academic. But where did such an ill-starred idea for a thesis come from in the first place? Some readers will doubtless pick up on the fact that the particular MMORPG Lacey Anne studies/plays bears more than a passing resemblance to the original Everquest, which I played in sickly earnest around the end of high school and the beginning of college — basically, from the time I decided I was “over” my hometown to the time I made friends where I’d moved. I had a gnome necromancer who worshipped the God of Pestilence and was eventually sold on eBay, at level 31 or 32 with decent-but-not-great gear, for $250. Turns out I wasn’t cut out to be a gamer or an academic, though of course the second revelation was several years in following the first. Still and all, what can I tell you? Madame Bovary, c’est moi.
Emily Gould, Friendship:
There’s a line about how one of the protagonists has a bank account that’s linked to her parents’ account and how it’s like a “bedraggled, half-rotten umbilical cord that snakes all the way up 1-95” that she refuses to cut. I don’t even know what I like about it so much. I guess I like that it’s disgusting.
Cecil Castellucci, Tin Star:
The most fun thing that I manage to fit in are Tuckerizations! In my older novels it was fun to name contemporary characters after long lost friends. Mostly it would be teachers and I’d use the last names of friends from middle school. But with Tin Star (and its upcoming sequel A Stone in the Sky) the best part was naming alien species, spaceships, and celestial objects after friends. Every time I see one in the book, or write one in the new one, I smile. Kind of like I’m hanging out with my friends. Watch out, Lepucki! You might become a planet!
Emma Straub, The Vacationers:
My favorite weird little thing in The Vacationers is a fake movie — in my first novel, Laura Lamont’s Life in Pictures, I had to make up lots and lots of fake movies, and I guess I just couldn’t break the habit. The movie in the new book is called Santa Claws, and it’s a Christmas-themed werewolf movie for which one of the characters is the accountant. It was fun to think about things the production would have to spend money on — fake fur, fake snow, etc. It’s really hard to get over making up fake movies. I don’t think I’m done yet.
Celeste Ng, Everything I Never Told You:
Marilyn, the mother in Everything I Never Told You, grew up longing to become a doctor, but — as many women did in the 1950s — gave up those dreams when she married and had children. Midway through the book, haunted by disappointment, she visits a hospital and makes a decision that will upend her life and devastate her family. In the scene, she watches with a mix of envy and resignation as the doctors make their rounds: “They were all men, Marilyn noticed: Dr. Kenger, Dr. Gordon, Dr. McLenahan, Dr. Stone. What made her think she could be one of them? It seemed as impossible as turning into a tiger.” All of those characters are actually named after friends who are women doctors. It makes me quietly happy to read my little private joke and think not only of my friends — now accomplished physicians — but also of how much more is possible for women today than in Marilyn’s time.
Brittani Sonnenberg, Home Leave:
I like this line: “Even the brightest of Shanghai’s blue fall days had been compromised by a thin line of haze, like the giveaway bloodshot eyes of an alcoholic.” Having spent three years in Shanghai, as a kid and then later, after college, I always felt bullied by the pollution. It was so satisfying to come up with a description of the haze that emphasized the underlying sadness and helplessness of its presence, the way it could drag even the most gorgeous days down.
Adam Wilson, What’s Important Is Feeling:
I was very satisfied to have snuck in a character wearing a handmade T-shirt that says Kill Me I Love Love, which was the un-ironic title of a wildly over-the-top piano crooner/jam band album — think Billy Joel on MDMA — self-produced by a guy I used to know.
Julia Fierro, Cutting Teeth:
The scene where character Rip talks his 4-year-old son Hank through a wicked bout of constipation in the beach house’s tiny airless bathroom was one of my favorites to write. And I was pretty darn proud of myself for finding a way to let breast-milk have a surprise appearance in the book’s sex scene.
Leslie Jamison, The Empathy Exams:
There’s a moment in one of the essays — a piece about a crazy ultramarathon in Tennessee — when I confess that I snuck away from the action for a little while to watch a few episodes of the Real World Las Vegas, sitting in my car at a campsite in the woods. I loved admitting this: that while all of these people were doing this impossibly challenging thing, I was watching Steven and Trishelle hook up. It was a way to admit my own fallibility as an observer and a narrator, and I was also glad to go on record saying I’d wanted Trishelle to hook up with Frank instead.
Image via Coralie Mercier/Flickr
Last year offered many treats for readers: long-awaited new books by Donna Tartt and Norman Rush; the emergence of Rachel Kushner as a literary superstar; the breakout success of George Saunders. 2014 offers more riches. This year we’ll get to crack open new books by E.L. Doctorow, Richard Powers, Sue Monk Kidd, Lorrie Moore, Teju Cole, Mona Simpson, Lydia Davis, and Peter Matthiessen. Our own Edan Lepucki and Bill Morris will have new books on shelves in a few months. Look ahead to the hazy end of summer 2014 and a new novel by Haruki Murakami will be hitting American shores. All of these and many more are the books we’re looking forward to this year.
The list that follows isn’t exhaustive—no book preview could be—but, at 9,100 words strong and encompassing 89 titles, this is the only 2014 book preview you will ever need. Scroll down and get started.
January or Already Out:
Little Failure by Gary Shteyngart: Say what you will, but Shteyngart is putting the fun back in literary life. If you haven’t yet seen the trailer for his fourth book and first memoir, Little Failure, well, start your new year with a giggle or two and be prepared to be delightfully convinced by the romantic (if not quite “erotic”) affection between Shteyngart and James Franco in pink bathrobes. But seriously, folks—I’m guessing Adam Gopnik’s blurb is just what the Chekhov-Roth-Apatow of Queens (now upstate) was hoping for: “I fully expected Gary Shteyngart’s memoir of his search for love and sex in a Russian-Jewish-Queens-Oberlin upbringing to be as hilarious and indecorous and exact as it turns out to be; what I wasn’t entirely prepared for was for a book so soulful and pained in its recounting of the feints and false starts and, well, little failures of family love. Portnoy meets Chekhov meets Shteyngart! What could be better?” (Sonya)
The Invention of Wings by Sue Monk Kidd: Don’t expect to find Sue Monk Kidd’s third novel at the library anytime soon because Oprah has already selected it as her newest Book Club read. She praised the book as a “conversation changer” regarding how we think about womanhood and history. The novel follows two headstrong women trying to make a change in the Antebellum South. Sarah Grimke, the daughter of a Charleston plantation owner, trades slavery for abolitionism and the suffragist movement. Her slave Handful has equally progressive desires, and the two form an unlikely friendship. (Tess)
Andrew’s Brain by E.L. Doctorow: Doctorow’s latest novel, his twelfth, is “structured as an extended series of conversations between Andrew, a cognitive neuroscientist by training, and an unnamed man who initially appears to be his psychotherapist,” according to Publishers Weekly. Their conversations focus on Andrew’s guilt over giving up his daughter after her mother died. Given Doctorow’s reputation as king of the American historical novel, it’s worrying that early reviews complain of a lack of clarity about exactly when the story takes place, but no one dramatizes complex ideas better than Doctorow. (Michael)
The Scent of Pine by Lara Vapnyar: Lena is on the brink of an early midlife crisis: her career is stalled, she feels disconnected to her adopted country, and her marriage is faltering. She finds romance with a similarly lost academic, Ben, and the two embark on an affair in a cabin in Maine. Yet Lara Vapnyar’s sophomore novel is more than just a sexy romp in the woods. Up north, Lena reflects on a romantic and mysterious summer she spent at a Soviet children’s camp 20 years before. Early reviewers have called Vapnyar’s latest a “Russian Scheherazade.” (Tess)
On Such a Full Sea by Chang-rae Lee: Many of Chang-rae Lee’s novels are firmly grounded in reality, examining the worlds of displaced outsiders from the Korean War to the lives of immigrants in the present-day United States. His latest book leaps further afield, into the realm of speculative fiction, in a dystopian American future where declining urban neighborhoods have been transformed into “highwalled, self-contained labor colonies,” whose Chinese immigrant residents work catching fish for the surrounding elites. As with any good dystopian work, it promises to highlight and draw parallels with growing inequalities in our own society, which might “change the way readers think about the world they live in.” (Elizabeth)
Perfect by Rachel Joyce: When two seconds get added to clock time because “time was out of kilter with the natural movement of the Earth” in the 1970s, two young boys worry if the world will ever be the same. In the present day, a man is so crippled by his OCD that he struggles to maintain a normal life outside the psychiatric hospital. Rachel Joyce weaves these parallel narratives together in her highly anticipated followup to bestseller and Booker longlisted The Unlikely Pilgrimage of Harold Fry. Perfect has garnered great reviews in the U.K. with Susanna Rustin at The Guardian lauding it as, “ambitious, darker and more honest.” (Tess)
Orfeo by Richard Powers: Richard Powers’ novels are often laced with serious science, with narratives that delve into the complexities of genetic engineering, computer coding, and cognitive disorders. In Orfeo Powers returns to the pairing of DNA coding and musicality from his Gold Bug Variations, with a tech-age take on the Orpheus myth. Orfeo follows a retired music professor who’s built a DIY genetics lab where he finds musical patterns in DNA sequences. When his dog dies unexpectedly, the FBI seizes the lab, and he goes on the lam. It seems that DNA and music are inextricably paired for Powers, who noted in an essay on having his genome sequenced, “If the genome were a tune played at a nice bright allegro tempo of 120 beats per minute, it would take just short of a century to play.” (Anne)
The Radiance of Tomorrow by Ishmael Beah: Beah, a former child soldier in Sierra Leone’s civil war, detailed his experiences of the conflict and its aftermath in his 2007 memoir, A Long Way Gone. His debut novel, which Edwidge Danticat has called “formidable and memorable,” tells the story of two friends who return to their village after the war and their struggle to restore a sense of order and normalcy in the space between an unspeakable past and an uncertain future. (Emily)
Leaving the Sea by Ben Marcus: At Columbia’s M.F.A. Program, Ben Marcus teaches a course called “Technologies of Heartbreak”—a nifty coinage that also points to the two poles of Marcus’s own aesthetic. In his mind-blowing story collection, The Age of Wire and String, and in the first novel that followed, Marcus gravitated toward the technological: meat masks, air bodies, soft machines… Seldom did one encounter a normal human being. But his most recent novel, The Flame Alphabet, placed wild invention at the service of more straightforward emotion. It’ll be worth watching to see where Leaving the Sea comes down; it’s likely to be good either way. (Garth)
A Highly Unlikely Scenario, or a Neetsa Pizza Employee’s Guide to Saving the World by Rachel Cantor: Anybody else miss Kurt Vonnegut? Rachel Cantor is here to fill the void with her debut novel, which mixes the comic with the speculative in a voice that one early reviewer described as “Terry Pratchett crossed with Douglas Adams.” It’s got time travel, medieval kabbalists, and yes, pizza. What more can you ask for? (Hannah)
Silence Once Begun by Jesse Ball: In a small Japanese town, eight people disappear from their homes with only a playing card marking their doors and absences; one man, a thread salesman, confesses to the crimes and is put in jail, but refuses to speak. These disappearances form the mystery around which Jesse Ball’s fourth novel, Silence Once Begun, is constructed, and which obsess a journalist who shares Ball’s name. Interview transcripts make up the central text of a story ultimately concerned with speech, silence, and the control of information. (Anne)
The Secret History of Las Vegas by Chris Abani: Abani is both a novelist and a poet, and he brings a poet’s instinct for sublime language to his latest work, a crime novel set in Las Vegas. Salazar, a detective, is determined to solve a string of recent murders before he retires. He enlists the help of an expert in psychopathy, Dr. Sunil Singh, who is haunted by a betrayal of his loved ones in apartheid South Africa. “Here in Vegas,” Abani writes, “the glamor beguiled and blinded all but those truly intent on seeing, and in this way the tinsel of it mocked the obsessive hope of those who flocked there.” (Emily)
A Place in the Country by W.G. Sebald: In his seminal novels, the late W.G. Sebald more or less obliterated the line between essay and fiction, if one even existed in the first place. Here, Sebald explores the lives and work of Robert Walser, Gottfried Keller, and other artists. The book is labeled nonfiction, but one imagines that this capstone to the English translation of Sebald’s work will offer many of the satisfactions of his novels. (Garth)
Praying Drunk by Kyle Minor: Along with his colleague Matt Bell, Kyle Minor was the subject of a flame war in a recent comment thread here at The Millions. But the imputation of log-rolling struck me as unfair. As someone who’s never met, spoken with, or seen Kyle Minor, I can say that the Guernica excerpt of his as-yet-unpublished novel, The Sexual Lives of Missionaries, was one of the more memorable pieces of fiction by a young writer I read in 2012. I guess we’ll have to wait a while longer to see the rest, but in the meantime, Minor’s latest story collection, Praying Drunk, promises to explore some of the same territory. (Garth)
Bark by Lorrie Moore: New Lorrie Moore! Let us rejoice! Bark is Lorrie Moore’s first short story collection since the miraculous and magnificent Birds of America came out fifteen years ago. Some of these eight stories might be familiar; The New Yorker published “Debarking” back in 2003, and “The Juniper Tree” in 2005. All of these stories, new to you or not, should be about as pun-filled, clever, and devastating as we’ve come to expect from Moore, who is arguably the best American short story writer alive today. (Edan)
MFA vs. NYC: Two Cultures of American Fiction edited by Chad Harbach: Although its title and implied dichotomy will pain any person who writes things and is neither an MFA-holder nor connected with the NYC publishing scene, Chad Harbach’s collection of commentaries on the two major drivers of the literary economy promises to deliver valuable collective insight on the current state of writing in America. Harbach first conceived this dichotomy in 2010 in an essay for n+1 (available online at Slate), wherein he made intriguing and provocative statements on, among other things, the rise of the MFA program (“an ingenious partial solution to an eminent American problem: how to extend our already protracted adolescence past 22 and toward 30, in order to cope with an oversupplied labor market”) and argued that the “university now rivals, if it hasn’t surpassed, New York as the economic center of the literary fiction world.” The book will feature contributions from writers, editors, and teachers at various stages of their careers, including George Saunders, Elif Batuman, Keith Gessen, Maria Adelmann, Emily Gould, and Alexander Chee. (Lydia)
Kinder Than Solitude by Yiyun Li: Two things intrigue me right off the bat about Yiyun Li’s new novel—its title, and this, from the publisher: “Kinder Than Solitude is the story of three people whose lives are changed by a murder one of them may have committed.” A murder mystery! And from a writer as patient, observant, and precise as Li. Given Li’s gifts of insight into human nature, the story will surely evolve less around whodunit? and more around what really happened? and does it matter? The eponymous kindness seems to have been bestowed upon one of the three friends, Moran, by a man who was once her husband, at a time when she fled into—and presumably believed in the kindness of—solitude; all of which is yet more intriguing. (Sonya)
The UnAmericans by Molly Antopol: Molly Antopol’s debut is a collection about characters lost in the labyrinth of recent history. Stories are set against various geographical and historical backdrops—the McCarthy witch hunt, Communist-era Prague, Israeli settlements. The book has been accumulating some promising advance praise. Adam Johnson, for instance, has written that “Not since Robert Stone has a writer so examined the nature of disillusionment and the ways in which newfound hope can crack the cement of failed dreams.” Antopol was named one of the National Book Foundation’s “5 Under 35” last year. (Mark)
An Unnecessary Woman by Rabih Alameddine: The narrator of Rabih Alameddine’s fourth novel is reclusive seventy-two-year-old Aaliya Sobi, who lives alone in an apartment in Beirut who spends her time translating books into Arabic and then stowing them away, never to be read. The book is an exploration of Aaliya’s inner life—of her memories of Lebanon’s troubled recent history and her own turbulent past, and of her thoughts on literature and art. Colm Tóibín has compared it to Calvino and Borges, describing it as a “fiercely original act of creation”. (Mark)
Thirty Girls by Susan Minot: In 1996, The Lord’s Resistance Army kidnapped a group of 139 young teenage girls from a convent school in Uganda, holding them captive. The deputy headmistress of their school, Sister Rachele Fassera, pursued the kidnappers and negotiated the release of 109 of the girls; the remaining thirty were kept and subjected to a long ordeal of captivity and brutality. Susan Minot’s new novel, Thirty Girls, is a fictionalized account of this mass abduction and its aftermath. Minot tells the stories of these abductees, interweaving them with that of an American journalist named Jane Wood who is interviewing them about their experiences. In 2012, Minot published an extract of the same name in Granta’s “Exit Strategies” issue. (Mark)
Strange Bodies by Marcel Theroux: The British broadcaster and novelist Marcel Theroux, a son of Paul Theroux, wants to have it all in his fifth novel. Strange Bodies is a high-concept literary thriller that flirts with science fiction while making inquiries into language, identity and what it means to be human. The concept is this: Nicholas Slopen has been dead for months, yet one day he turns up to visit an old girlfriend. He leaves behind a flash drive containing something as unbelievable as he is—a cache of letters supposedly written by Samuel Johnson. This smart novel’s central conceit is that we are all, like books, made of words. (Bill)
The News: A User’s Manual by Alain de Botton: Known for his wide-ranging curiosity and penchant for philosophical musing, the author of How Proust Can Change Your Life, Religion for Atheists, and The Art of Travel has turned his attention to the news. This branch of the media that incorporates everything from war to celebrities getting pizza is almost omnipresent in our lives, and de Botton here examines how that affects us and how much longer the news can get bigger. (Janet)
The Swan Gondola by Timothy Schaffert: Schaffert’s fifth novel, which he describes on his website as “a love story (with ghosts),” is set in the 1898 Omaha World’s Fair. The fair marks a point of possible transformation, both for Omaha—still in some ways a Wild West town, but yearning for the glamor of Chicago—and for the actors, aerialists, ventriloquists, and assorted hustlers who descend on the city for the fair. Schaffert brings his trademark lyricism, precision, and exquisite character development to a love story between a ventriloquist and a secretive traveling actress. (Emily)
A Life in Men by Gina Frangello: Gina Frangello is a true champion of indie literature—she’s an editor at The Rumpus and The Nervous Breakdown and has appeared repeatedly on the annual “Who Really Books Chicago” list—and yet she somehow finds time to write her own books, too. Frangello’s fiction is often sexual, seductive, forward, and frank. Her latest novel, A Life of Men, promises more in the same vein, with a story about two young friends, one recently diagnosed with cystic fibrosis, who travel the world seeking to fill their lives, however brief, with a wealth of experience. (Anne)
Europe in Sepia by Dubravka Ugresic: Ugresic has published several distinguished works of fiction, but her wide-ranging, boundary-blurring essays on politics and culture may be the ideal entry point for English-language readers. Here, in pieces originally published in The Baffler and elsewhere, she ranges from Occupy Wall Street to Ireland’s Aran Islands. For a preview, check out Arnon Grunberg’s tribute to Ugresic, published here last year. (Garth)
What’s Important is Feeling by Adam Wilson: Adam Wilson follows up his debut novel Flatscreen, a dark comedy of suburban listlessness, with a collection of stories taking place across the modern American landscape (the title story, which appeared in the Paris Review and was later included in the Best American Short Stories of 2012, describes a movie set in Texas and opens with the immortal question, “‘What is this cockshit?'”) Like Flatscreen, What’s Important is Feeling promises youthful- to middle-aged angst, ennui, relationship troubles, and weed. (Lydia)
Every Day Is for the Thief by Teju Cole: Teju Cole’s peripatetic, meditative Open City drew comparisons to Sebald and Coetzee and firmly placed Cole on the map of young authors endowed with serious smarts and talent, who engage in cultural critique—and this holds true whether he’s writing about race, class, and post-colonialism, or Tweeting about drones. Cole’s novel Every Day Is for the Thief is an “amalgamation of fiction, memory, art, and travel writing” originally culled from his blog (now removed) about a young Nigerian revisiting Lagos and a version of the book was published in 2007 by Nigeria-based Cassava Republic Press. (Anne)
What Would Lynne Tillman Do by Lynne Tillman: I ask myself this question all the time – WWLTD? – and here, in a thick abecedarium of essays introduced by Colm Tóibín, Tillman offers a variety of answers. A crib sheet: sometimes Lynne Tillman would crack wise; sometimes Lynne Tillman would offer an insight so startling I had to go back and read it twice; always Lynne Tillman would do something smarter and finer and better than I would. And that’s why you, too, should be reading Lynne Tillman. (Garth)
The Heaven of Animals by David James Poissant: Early reviews have compared Poissant’s stories, which ply the literary territory between realism and allegory, to the work of Anton Chekhov and Raymond Carver. In one story from this debut collection, a man throws his teenage son out a window when he learns the boy is gay, seeking reconciliation only after helping free an alligator from a golf club pond. In another, two parents confront the unusual complications of having a newborn baby that literally glows. Poissant, whose stories have appeared in One Story, Ploughshares, and The Atlantic, also has a novel in the works. (Michael)
Boy, Snow, Bird by Helen Oyeyemi: Oyeyemi’s newest novel will be her fifth, not bad for a writer who will celebrate her 30th birthday later this year. Oyeyemi’s 2009 novel, White is for Witching, won a Somerset Maugham Award (the prize is given to British writers under 35) and she was named to the Granta Best Of Young British Novelists list last year, following the 2011 publication of Mr. Fox, the novel that introduced Oyeyemi to many U.S. readers. Boy, Snow, Bird, Oyeyemi told the Times last year, is “about a woman named Boy who tries to avoid becoming a wicked stepmother and really doesn’t know if she’s going to manage it.” (Max)
The Brunist Day of Wrath by Robert Coover: Coover’s enormous follow-up to his first novel, Origin of the Brunists, has been delayed several times, but this spring, it should finally see the light of day. Coover’s recent short stories in The New Yorker suggest he’s still near the top of his game. (Garth)
Pushkin Hills by Sergei Dovlatov: A new translation of a Dovlatov novel is like Christmas morning for the English-speaking world; and this one from his daughter, no less. Pushkin Hills, published 30 years ago, is one of his most popular novels in Russia (posthumously, along with all his work). Said The Guardian of the translation that first hit the UK last fall: “Alma Classics have been searching for a suitable translator for years. Now the writer’s daughter, Katherine Dovlatov, has captured her father’s style. . . [she] only took on the task of translating it after the publishers rejected a previous translation and numerous samples.” The story is, of course, autobiographical, featuring “[a]n unsuccessful writer and an inveterate alcoholic, Boris Alikhanov. . . running out of money and . . . recently divorced from his wife Tatyana, who intends to emigrate to the West with their daughter Masha.” From The Independent: “Vodka-fuelled mishaps, grotesque comic cameos and—above all—quick-fire dialogue that swings and stings propel this furious twilight romp from the final days of Soviet power.” Counterpoint is publishing the book in the U.S. (Sonya)
All Our Names by Dinaw Mengestu: A MacArthur genius, a 5 Under 35 awardee, and a 20 Under 40 recipient all walk into a bar and take a single seat, because it’s one person and his name is Dinaw Mengestu. The author of the The Beautiful Things That Heaven Bears and How to Read the Air—both concerned with Africans fleeing their countries—returns this year with All Our Names, an elegiac love story about pair of African men separated by a political revolution: one in exile, and another in their war-torn homeland. Split across two narratives—one in the past, one in the present—All Our Names dramatizes the clashes between romantic idealism and disillusioned practicality, as well as between self-preservation and violence, all while blurring the identities of those who can move on, those who stay behind, and those who simply change. (Nick M.)
Blood Will Out by Walter Kirn: Billed as an In Cold Blood for the 21st century, Walter Kirn’s non-fiction book Blood Will Out: The True Story of a Murder, a Mystery, and a Masquerade tells the story of how this celebrated critic, essayist and novelist (Up In the Air, Thumbsucker) got duped by a man who claimed to be a Rockefeller but turned out to be an impostor, a child kidnapper and a brutal murderer. Part memoir, part true-crime story and part social commentary, Blood Will Out probes the dark psychological links between the artist and the con man. (Bill)
Mount Terminus by David Grand: The titular hilltop in David Grand’s third novel roosts high above sunny, sleepy pre-Hollywood Los Angeles. Mount Terminus is a refuge for grieving Jacob Rosenbloom, whose wife died back East. Jacob’s invention, the Rosenbloom Loop, has revolutionized the budding art of filmmaking, and he’s determined to use his invention’s earnings to protect his son, Bloom, from the family’s past. But Bloom, a dark, brooding genius, is prodded by his very different half-brother to come down from Mount Terminus and meet the world. This novel, 11 years in the making, becomes that rarest of things: a plausible myth, an intimate epic. (Bill)
Falling Out of Time by David Grossman: An acclaimed Israeli novelist, Grossman found an American audience with 2010’s To the End of the Land, an epic novel of love and war hailed as a masterpiece. He returns with a allegorical novel one third its length that tells the story of Walking Man, who walks in circles around his town in an attempt to come to peace with his son’s death. Having lost his own son in 2006, Grossman here probes the meaning of loss, memory, and grief. (Janet)
Sleep Donation by Karen Russell: The newly minted MacArthur grantee mines the fertile territory between short story and novel. In Russell’s lightly science-fictionalized world (which, come to think of it, sounds a lot like my house) a deadly insomnia epidemic is spreading. The well-rested can help out the afflicted by donating their excess sleep—but scarce supplies force everyone to reevaluate the line between gift and commodity. This is the first title from Atavist Books, so expect some bells and whistles in the digital edition. (Garth)
Clever Girl by Tessa Hadley: Like Alice Munro and Evan Connell, Hadley’s devotees exclaim that her sophisticated prose and skill with character transcend their subject—the unfortunately named “domestic fiction.” Her fifth novel, Clever Girl follows the life of Stella from her adolescence in the 1960s to the present day. Stella’s life, in every description, is ordinary, but illuminates both the woman living it and the times around her. (Janet)
Updike by Adam Begley: What’s left to say about John Updike that Updike didn’t already say exhaustively, and say better than anyone else could have? Yet Adam Begley has apparently found enough fresh material, or a fresh enough angle on the well-trod, to fill 576 pages. For a primer on Updike, there’s no way this book can surpass Nicholson Baker’s U&I, but it’s always a good sign when a literary biographer is a novelist himself. (Garth)
Can’t and Won’t by Lydia Davis: “Can’t and Won’t,” the title story from Lydia Davis’s new collection of short and short-short stories playfully pokes fun at the brevity of her fictions. In this two-sentence story the author is refused a literary prize, because of the laziness evident in his/her frequent use of linguistic contractions. Quite the contrary is true with Davis’s work, where much of the flare is tongue in cheek. Concision and precision invigorate her fictions, and apparently the prize committee agrees, as Davis was just awarded the prestigious Man Booker International Prize. (Anne)
And the Dark Sacred Night by Julia Glass: In her fifth novel, Julia Glass revisits two beloved characters—Malachy Burns and Fenno McLeod—from her first novel, the National Book Award-winning Three Junes. The publisher’s description assures us, however, that the novel will range and weave and shift perspectives—as all Glass’s novels do—among new characters as well. In an interview with Bloom earlier this year, Glass, who debuted with Three Junes at age 46, said: “I suspect that I simply can’t help exploring a story from many angles. . . I have to look through as many windows as I can reach; now and then I resort to a ladder.” When interviewer Evelyn Somers described Glass as “fearless” in the way she weaves together complex stories, Glass replied: “I like the idea of being ‘fearless,’ but sometimes I think the complexity of my novels is more related to another trait I have: I’m an overpacker. . . Call me a maximalist. I won’t be insulted.” (Sonya)
Love & Treasure by Ayelet Waldman: The plot of this novel revolves around the true history of the Hungarian gold train, a trove of stolen valuables that was seized by American soldiers during World War II but which was never returned to its rightful owners. Seventy years later, the granddaughter of one of the treasure-seizing soldiers must look into the turbulent past—and into her own turbulent life—when her grandfather gives her a jeweled pendant with a murky history. (Hannah)
Lovers at the Chameleon Club: Paris, 1932 by Francine Prose: Francine Prose’s 20th novel, Lovers at the Chameleon Club: Paris, 1932, is framed as a biography by a French feminist high school teacher. The subject of this fictional biography is Lou Villars, based on an historical figure, a professional athlete, lesbian, cross-dresser and German spy who became a torturer and was executed by the Resistance. One early reader claimed she could smell the nicotine on the fingers of Prose’s fictional French biographer. Woven into the text are sections of a fake Peggy Guggenheim memoir and a fake Henry Miller novel. The latter, Prose reports, “was super fun to write.” (Bill)
Thunderstruck & Other Stories by Elizabeth McCracken: The novelist, short story writer, and memoirist Elizabeth McCracken, whose novel The Giant’s House was a finalist for the 1996 National Book Award, has earned a reputation as a writer of rare empathy and descriptive powers. Thunderstruck, her first short story collection in twenty years, charts the territory of family, love, and loss. In their review of the collection, Publisher’s Weekly wrote that “McCracken transforms life’s dead ends into transformational visions.” (Emily)
Frog Music by Emma Donoghue: Best known for the 2010 bestseller Room, Donoghue latest novel sees her returning to historical fiction (four of her eight novels are historical), this one based on a still-unsolved murder in 1870s San Francisco. After her friend is killed by a gunshot through a boardinghouse window, Blanche—a burlesque dancer, prostitute, and the only witness—is forced to seek justice on her own. (Janet)
All the Birds, Singing by Evie Wyld: This second novel from British thirty-something sensation Evie Wyld (After the Fire, A Still Small Voice, 2009) is about a woman named Jake who, along with a flock of sheep, is the only inhabitant on an unnamed island off the coast of Britain. The novel came out abroad last year and revolves around a mysterious predator stalking Jake’s flock, picking off her sheep one at a time in gory fashion. As The Guardian put it in a review last June, the novel is “not a ruminant whodunnit exactly; it is a thoughtful and intense account of a young woman seemingly determined to disappear from the world’s radar.” (Kevin)
In Paradise by Peter Matthiessen: 86-year-old lion of American letters Peter Matthiessen has written his first novel since Shadow Country and what he told the NY Times may be his “last word.” A novel based upon his own experience attending three “Bearing Witness” Zen retreats at the site of Auschwitz-Birkenau, In Paradise will describe one attendee’s experience of meditation in a former concentration camp as a non-Jew of Polish descent. (Lydia)
Family Life by Akhil Sharma: Sharma’s first novel, An Obedient Father, won the PEN/Hemingway and the Whiting in 2001. More than a decade later, the Indian-born writer publishes his second novel, which begins in Delhi in 1978 and tracks a family’s migration to the United States. “Life is extraordinary until tragedy strikes,” the publisher writes, “leaving one brother severely brain-damaged and the other lost and virtually orphaned in a strange land.” For a introduction to Sharma’s writing, his first short story in twelve years, about cousins living in Delhi, was published in The New Yorker this past spring: “I wrote this story as soon as I had e-mailed the novel to my editor,” he told New Yorker fiction editor Deboarah Treisman. “Get thee behind me, devil is what I thought about finishing the novel.” (Elizabeth)
With My Dog Eyes by Hilda Hilst: If 2012 was the year of Clarice Lispector, when New Directions issued four new translations of her seminal works, then 2014 may very well be the year of Lispector’s friend and fellow Brazilian author, Hilda Hilst. Obscene Madame D was Hilst’s first work translated into English, and it made appearances on my best of 2013 reading list as well as Blake Butler’s. Two more Hilst translations debut this year, with another from Nightboat (Letters from a Seducer) and Melville House’s publication of With My Dog Eyes. This title seems apt, as Hilst produced much of her work after retreating to an estate where a pack of more than one hundred dogs roamed. For a taste, check out the excerpt Bomb published last summer. (Anne)
Talking to Ourselves by Andrés Neuman: Neuman’s first novel to be translated into English, Traveler of the Century, was an enormous feat of fabulism, and was critically acclaimed when it appeared here in 2012. Talking to Ourselves demonstrates Neuman’s range by running in completely the opposite direction. This comparatively short work is set in the present day, and alternates among the voices of three family members. For those who missed Traveler of the Century, it may be an equally potent introduction to Neuman’s work. (Garth)
Cubed: A Secret History of the Workplace by Nikil Saval: Saval, an n+1 editor, has produced what may be an essential volume on a subject that bedevils so many of the over-educated and under-employed among us: the office. It is likely the rare desk jockey who hasn’t, in a fugue of 3pm boredom and amid a din of inane small talk, wondered “why does it have to be like this?” Cubed looks for an answer, exploring how the office as we know it came to be, “starting with the smoke one-room offices of the 19th century and culminating in the radical spaces of the dot-com era and beyond.” (Max)
Casebook by Mona Simpson: The consistently excellent Simpson returns with what sounds like a riff on Harriet the Spy: the story of a boy investigating his parents’ disintegrating marriage. The coming-of-age narrative is complicated here, though, by the disintegration of the possibility of privacy in the age of Facebook, or Snapchat, or whatever we’re all on now. Am I the only one hoping that the “stranger from Washington D.C. who weaves in and out of their lives” is Anthony Weiner? (Garth)
Off Course by Michelle Huneven: Michelle Huneven, author of Blame and Jamesland, returns with an engrossing and intimate new novel set in the early 1980s. Cressida Hartley is a young PhD candidate in Economics who moves to her parents’ shabby vacation cabin in the Sierras; she ends up getting drawn into the small mountain community there—in particular, its men. According to the jacket copy, Huneven introduces us to “an intelligent young woman who discovers that love is the great distraction, and impossible love the greatest distraction of all.” Publishers Weekly says that “Cress makes for an eerily relatable and heartbreaking protagonist.” If you haven’t yet read a book by Huneven, whom Richard Russo calls “a writer of extraordinary and thrilling talent,” then you’re in for a treat. (Bonus: Michelle Huneven’s beautiful essay, “On Walking and Reading At the Same Time.”)
Labor Day: True Birth Stories by Today’s Best Women Writers, edited by Eleanor Henderson and Anna Solomon: There’s no such thing as a predictable birth—a fact that maddens parents-to-be but eventually makes for a whopper of an anecdote. If your Aunt Mildred can tell a good story about her scheduled c-section, imagine the tales that writers like Julia Glass, Lauren Groff, Dani Shapiro, and The Millions’ own Edan Lepucki can spin. (Hannah)
All the Rage by A. L. Kennedy: The Independent once described A. L. Kennedy as “one of nature’s Eeyores”: “She knows grimness the way some novelists know music or food.” So the Scottish writer’s sixth collection of short stories—billed as “a dozen ways of looking at love, or the lack of love”—should likely be avoided by the overly sentimental. But it promises to be marked by the dark humor that pervades her work—the “Department 5” (“a shadowy organisation about which it’s best you know nothing”) page on her website gives you a good taste. (Elizabeth)
Vernon Downs by Jaime Clarke: Clarke, the co-owner of Newtonville Books in Boston, offers a slippery roman-a-clef, or simulacrum thereof. A sad sack writer becomes obsessed with a more famous colleague, the titular Vernon Downs, who despite his lack of a middle name, bears more than a passing resemblance to Bret Easton Ellis. This is the intriguing debut title for a new indie called Roundabout Press. (Garth)
The Temporary Gentleman by Sebastian Barry: The Irish poet, playwright and novelist Sebastian Barry’s new novel, The Temporary Gentleman, tells the story of Jack McNulty, an Irishman who served in the British army in the Second World and has washed up in Accra, Ghana, in 1957, determined to write down the story of his life. Jack is an ordinary man who has seen extraordinary things—as a world traveler, soldier, engineer, UN observer and ill-starred lover. Once again Barry, a repeat contender for the Man Booker Prize, deftly twines his own family history with the rumbustious history of the Irish in the 20th century. (Bill)
The Snow Queen by Michael Cunningham: Michael Cunningham’s sixth novel is set in New York City in 2004 and tells the story of two brothers facing loss. One brother, newly bereft, experiences a religious awakening; the other, whose wife is gravely ill, falls into drug use. It sounds like a tearjerker of a story, one likely to be made even more heartrending by Cunningham’s graceful prose. (Hannah)
My Struggle, Book III by Karl Ove Knausgaard: It’s not really news anymore that Knausgaard’s unfolding project (unfolding into English, anyway; in Norwegian, it’s already complete) is phenomenal. But now that FSG is handling the paperback editions (replete with Williamsburg-ready jacket design) you’ll be hearing even more about My Struggle. And it’s true: you should read it! Start Book I now, and you will have caught up by the time Book III comes out. (Garth)
Lost for Words: A Novel by Edward St Aubyn: St Aubyn’s Patrick Melrose quintet of novels, based on his own upbringing, center around the nasty dealings of a family in the English aristocracy. (James Wood diminishes regular comparisons to Waugh and Wilde, saying that despite surface similarities, St Aubyn is “he is a colder, more savage writer than either.”) His newest novel is somewhat of a departure then, a “a hilariously smart send-up of a certain major British literary award.” Readers hesitant to leave the Melrose family behind can rest assured that the new novel promises to be just as cutting as those before it. (Elizabeth)
Another Great Day at Sea: Life Aboard the USS George H.W. Bush by Geoff Dyer: Geoff Dyer’s latest sees the prolific journalist, essayist, and novelist chronicle a two-week stay aboard a US aircraft carrier. As the tallest (well, second-tallest), oldest, and easily most self-conscious person on the boat, Dyer occupied an odd position on the crew, one which forced him to reconcile his own bookish life with a lifelong interest in the military. (Those readers with Army experience may not be surprised to learn that the text is heavy on acronyms.) (Thom)
An Untamed State by Roxane Gay: If Roxane Gay wrote it, I’ll read it. Perhaps best known for her thoughtful and engaging essays about all kinds of topics, from Orange is the New Black to Twitter to Paula Deen’s racism, Gay will publish not only a book of essays in 2014, called Bad Feminist, but also this first novel. In An Untamed State, Mireille Duval Jameson, the daughter of one of Haiti’s richest men, is kidnapped and held captive for thirteen days by a man who calls himself the Commander. Mat Johnson says, “An Untamed State is the kind of book you have to keep putting down because you can’t believe how good it is. Awesome, powerful, impossible to ignore, Roxane Gay is a literary force of nature. An Untamed State arrives like a hurricane.” (Edan)
All the Light We Cannot See by Anthony Doerr: A blind French girl and a young German boy navigate the perils of occupied France in the latest by the author of Memory Wall. The French girl, Marie Laure, flees Paris with her father, eventually holing up with her agoraphobic uncle in his house on the coast of Brittany. The German boy, Werner, a mechanical whiz, parlays his aptitude into a spot in the Nazi army. The Nazis ship him off to Russia and then from there to northern France. If we can trust Abraham Verghese’s endorsement, the story is “put together like a vintage timepiece.” (Thom)
The Vacationers by Emma Straub: The highlight of Emma Straub’s short story collection, Other People We Married, was the romantically lost but sympathetic Franny. We left the collection wanting to read an entire novel on her, and fortunately, Straub has done just that with her second novel after Laura Lamont’s Life in Pictures. Surprisingly, Franny is still married to Jim, and the Post family and friends are off to Mallorca to celebrate their 35th anniversary. Yet not everything is tranquil as the Mediterranean Sea, and the vacation dredges up embarrassments, rivalries, and secrets. (Tess)
To Rise Again at a Decent Hour by Joshua Ferris: To read a Joshua Ferris novel is to stare at the gaping emptiness just below the surface of modern life—and, quite often, laugh. In this third novel from the author of the much-beloved Then We Came to the End, dentist Paul O’Rourke discovers that someone is impersonating him online, with a website, a Facebook page, and a Twitter account all mysteriously created in Paul’s name. As he looks into who has stolen his identity and why, Paul begins to fear that his digital doppelgänger may be better than the real thing. (Michael)
The Painter by Peter Heller: An expressionist painter with a penchant for violence tries to outrun his own crimes in this novel by the author of The Dog Stars. The protagonist, Jim Stegner, thought he’d settled into a peaceful life in his home in rural Colorado. One day, Stegner witnesses a local man beating a horse, and the act so enrages him that he hunts down the man and kills him. He then sets off on a Dostoevskyan quest, one which sees him make sense of his actions while hiding his crime from the cops. All the while, in spite of his turmoil, he keeps painting. (Thom)
Cutting Teeth by Julia Fierro: When a group of thirty-something parents gather at a ramshackle beach house called Eden, no serpent is required for the sins, carnal and otherwise, to pile up. Fierro, founder of Brooklyn’s Sackett Street Writers’ Workshop, argued in The Millions last year that writers need to put the steam—and the human sentiment—back into sex scenes in literary novels. You may want to keep Fierro’s debut novel on a high shelf, away from children and prudish literary snobs. (Michael)
The Last Illusion by Porochista Khakpour: Porochista Khakpour is the author of the blazingly original (pun intended!) novel Sons and Other Flammable Objects. In her new novel, its hero, Zal, is born in a rural Iranian village to a mother who believes he is evil because of his pale skin and hair. For the first ten years of his life he’s raised in a cage with the rest of his mother’s birds—eating insects, shitting on newspaper—until he is rescued by a behavioral analyst who brings him to New York. The Last Illusion recounts Zal’s struggles and adventures in this foreign land, where he befriends a magician, and falls for a supposed clairvoyant. Claire Messud writes, “This ambitious, exciting literary adventure is at once grotesque, amusing, deeply sad—and wonderful, too.” (Edan)
The Lobster Kings by Alexi Zentner: A generational drama set on fictional Loosewood Island, about the King family vying to maintain control of a centuries old lobstering dynasty. Early reports speak of meth dealers, sibling rivalry, and intra-lobster boat love as the main threats to Cordelia King’s attempt to preserve the family business. In an interview last April, Zentner (Touch, 2011) also allowed that one of the characters has “a Johnny Cash tape stuck in the cassette player in his truck.” (Kevin)
Wonderland by Stacey D’Erasmo: I’m particularly excited about Stacey D’Erasmo’s fourth novel Wonderland—not only because its protagonist is a female indie musician, the likes of whom have not made it into novels often, if ever (think about it); but because said musician, Anna Brundage, is on a comeback tour at age 44. Bloomer! From the publisher: “Wonderland is a moving inquiry into the life of a woman on an unconventional path, wondering what happens next and what her passions might have cost her, seeking a version of herself she might recognize.” D’Erasmo herself, who spent a decade as a books editor, first for the Village Voice and then Bookforum, did her own later-blooming comeback as a debut novelist at age 39, and now a professor at Columbia. (Sonya)
The Rise and Fall of Great Powers by Tom Rachman: Rachman follows The Imperfectionists, a pitch perfect novel-in-stories set at a dying English-language newspaper in Rome, with a novel about a bookseller named Tooly Zylberberg, who was kidnapped as a child and then adopted by her kidnappers. In a narrative that hopscotches the globe from Bangkok to Brooklyn to the border towns of Wales, Zylberberg is lured into setting off on a journey that will unravel the mysteries of her past. Never one to worry overmuch about plot credibility, Rachman is a master of wringing pathos from essentially comic tales. (Michael)
The Possibilities by Kaui Hart Hemmings: Seven years after the publication of The Descendents—which you might remember because of a certain movie adaptation starring George Clooney—Kaui Hart Hemmings returns to the themes of familial loss, grief, and unexpected turns of fate all cast against gorgeous scenery. In The Possibilities, a Colorado mother loses her son in an avalanche near their Breckinridge home. Coping with her loss, and trying to piece her life back together, she’s suddenly confronted with something she couldn’t have seen coming. (Nick M.)
American Innovations by Rivka Galchen: It’s been six years since readers were introduced to Galchen via her ambitious debut Atmospheric Disturbances (James Wood called it “a contribution to the Hamsun-Bernhard tradition of tragicomic first-person unreliability.”) Since then she has been chosen as one of the New Yorker’s 20 writers under 40 and produced an impressive body of unusually lyrical science journalism (on topics like quantum computers and weather control). Galchen’s new collection American Innovations reflects an experiment of another sort. Per publisher FSG, “The tales in this groundbreaking collection are secretly in conversation with canonical stories, reimagined from the perspective of female characters.” “The Secret Life of Walter Mitty” and Gogol’s “The Nose” are among the stories mined. (Max)
Funny Once by Antonya Nelson: Antonya Nelson’s new story collection brings together short pieces from the last few years as well as a previously unpublished novella. In the title story, a couple, united by a shared propensity for bad behavior, reckons with the consequences of a lie they tell to their friends. In “The Village,” a woman comes to grips with her feelings about her father’s mistress. In “Three Wishes,” the novella, a group of siblings deals with the fallout of their brother’s death. Like much of the native Kansan’s work, the collection takes place largely in Heartland and Western settings. (Thom)
The Book of Unknown Americans by Cristina Henríquez: The Book of Unknown Americans, the second novel by Iowa Writers Workshop graduate Cristina Henríquez, begins as a love story between a Panamanian boy and a Mexican girl. After the girl suffers a major injury, the story moves from Mexico to a cinderblock apartment building in Delaware populated with immigrants from Latin America. From there the novel expands outward to become a symphonic love story between these immigrants and an impossible America. Told in a multiplicity of voices, the novel manages that rare balance of being both unflinching and unsentimental. In doing so, it rewrites the definition of what it means to be American. (Bill)
Summer House With Swimming Pool by Hermann Koch: Last year, in a “Books of the Times” review, Janet Maslin took Hermann Koch’s novel, The Dinner, out into the town square for a public flogging. A funny thing happened though: the book ended up a bestseller. A bestseller translated from the Dutch, no less! Koch’s misanthropic view of contemporary life seemed to resonate with American audiences, and his latest appears to offer more of the same. Here, a murder disturbs the idyll of a group of friends on vacation together, bringing far darker currents to the surface. (Garth)
Paper Lantern and Ecstatic Cahoots by Stuart Dybek: Dybek’s The Coast of Chicago was, like Denis Johnson’s Jesus’ Son, practically required reading in writing programs in the late ’90s and early Aughts. Dybek’s voice was lusher than Johnson’s, and more openly romantic, but equally poetic. His follow-up, I Sailed With Magellan, sometimes let that lushness grow too wild; the gritty Chicago settings of the earlier book gave way in places to nostalgia. But a new Dybek volume is always welcome, and this year offers a treat: the simultaneous publication of two. Paper Lantern is a group of love stories, while Ecstatic Cahoots gathers together the kinds of short shorts that so memorably punctuated The Coast of Chicago. (Garth)
I’ll Be Right There by Kyung-Sook Shin: Kyung-sook Shin is one of Korea’s most popular novelists. In I’ll Be Right There, set during a period of political turmoil in 1980s South Korea, she uses European literature to bridge experiential differences between East and West. The novel concerns a highly literate woman who receives a phone call from an ex-boyfriend after nearly a decade of separation. The call triggers a flood of memories, and she finds herself reliving her intense and tumultuous youth: memories of tragedy and upheaval and of profound friendships forged in a time of uncertainty. (Emily)
In the Wolf’s Mouth by Adam Foulds: The third novel from British writer Foulds takes place at the end of World War II and follows two Allied soldiers during the final push to sweep the Germans out of Italy. In an interview last July with the Hindustan Times, Foulds previewed the book, saying, it “would like to give the reader a sense of history as being very complicated and rapid in these high-conflict situations. It is one thing after another. The events are too massive to care for particular individual stories, so there are a number of stories. For a while, one is unsure if they are going to converge but they do.” (Kevin)
California by Edan Lepucki: In July, Millions staffer and preferred writing teacher Edan Lepucki will follow up her novella If You’re Not Yet Like Me with her first full-length novel, California, a post-apocalyptic number set in, er, California. Lepucki’s debut follows a young couple struggling to make it work in a shack in the wilderness and straddles the (complementary) domestic and dystopian spheres, addressing horrors like marital strife, pregnancy, and the end of society as we know it. Dan Chaon called it “a wholly original take on the post-apocalypse genre.” (Full disclosure: I have eaten meals with Edan, squeezed her baby, and admired her tiny dog. My feeling of anticipation regarding this novel is thus not impartial.) (Lydia)
Motor City Burning by Bill Morris: Our own Bill Morris, a Motor City native, tells the story of Willie Bledsoe—once an idealistic black activist, now burnt-out and trying to write a memoir about the ’60s—who joins his brother to drive a load of illegal guns up to Detroit in 1968. While in Detroit, Bledsoe becomes the top suspect in an unsolved murder from the previous year’s bloody race riots. The book will dive deep into some of Morris’s great fascinations: cars, Detroit, and the The Indigenous American Berserk that lurks below the surface. (Kevin)
Tigerman by Nick Harkaway: A couple of years back, Charlie Jane Anders—writing on i09—declared that Harkaway had invented a new genre: existential pulp. That might be as good a way as any to describe his wildly inventive ouevre, which involves ninjas, mimes, doomsday machines, schoolgirl spies, shadowy secret societies, and mechanical soldiers. His third novel, Tigerman, concerns a burnt-out sergeant of the British Army, Lester Ferris, who is sent to serve out his time on Mancreu, a shady former British colony slated for destruction, where he encounters a street kid in need of a hero. (Emily)
Friendship by Emily Gould: Emily Gould’s debut novel charts the friendship of two women who, at thirty, have been closely entwined in one another’s lives for years. Bev lives the kind of aimless life that’s easier to put up with at 23 than at 30. Amy has been coasting for some time on charisma, luck, and early success, but unfortunate decisions are catching up with her. A meditation on friendship and maturity in an era of delayed adulthood. (Emily)
Last Stories and Other Stories by William T. Vollmann: Vollmann writes so much that you forget it’s been a blue moon since he’s published a work of fiction. And that book won the National Book Award! This collection is said to comprise a bunch of ghost stories—perhaps less inherently promising than, say, a Vollmann essay on how the FBI mistook him for the Unabomber, but still liable to fascinate. One of the remarkable things about Vollmann’s story collections is the way they add up to more than the sum of their parts; I’m eager to see how these stories connect. (Garth)
The Great Glass Sea by Josh Weil: If orbital “space mirrors” reflecting constant sunlight upon Oranzheria, a massive greenhouse in Petroplavilsk, Russia, doesn’t pique your interest, then I can’t do anything for you. These are the mysterious devices at the heart of Josh Weil’s second novel, which follows two twins, Yarik and Dima, who were inseparable as children, but who have grown apart in adulthood. Today, the two work in the collective farms of Oranzheria, the “great glass sea,” to harvest crops for the benefit of the place’s billionaire owner. What follows is a story of two brothers on oppositional paths, each hoping to reconvene, all set against the backdrop of an “alternative present-day Russia.” (Nick M.)
The Hundred-Year House by Rebecca Makkai: Doug is an academic interested in the poetry of Edwin Parfitt. As it happens, Doug’s mother-in-law owns a former artists’ colony where the poet had long ago been an artist in residence. Fancy that. But for whatever reason, she prohibits Doug from entering the estate’s attic, where file cabinets of Edwin Parfitt’s papers are said to be located. After asking around, however, Doug ultimately gains access to some of the files—only to find that they are much more disturbing than he could have imagined. What ensues is a fragmented narrative, split between 1999, 1955, and 1929, in which readers see glimpses of the present day, the near past, and the final days of the artist colony, all the while affected by the enduring legacy of the estate’s original owners. (Nick M.)
Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami: When Murakami’s new novel—his first since the in-all-ways-gigantic 1Q84—came out in Japan last year, there were apparently 150-deep midnight queues outside Tokyo bookstores. It sold 1 million copies in its first week alone. This is a novel, let’s remember, not a new Call of Duty game. And such were its unit-shifting powers in its author’s country that it caused a significant spike in sales of a particular recording of Franz Liszt’s “Years of Pilgrimage” piano pieces described in the novel, leading to a swift decision by Universal Music to reprint CDs of the recording to meet Murakami-based demand. The novel tells the story of Tsukuru Tazaki, a young man mysteriously ostracized by his friends. It stands a good chance of selling a few copies in English translation too. (Mark)
The Kills by Richard House: The second section of this four-part novel is called “The Massive”; it’s a title that could have stood for the whole. House’s sprawling quadruple-decker, longlisted for the Booker Prize, is a literary thriller set against the background of the Iraq War. Intriguingly, House created extensive digital video and audio supplements that unfold alongside the narrative. Not sure how that works, though, if you’re going to be reading on boring old paper, as I am. (Garth)
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