Although 2016 has gotten a bad rap, there were, at the very least, a lot of excellent books published. But this year! Books from George Saunders, Roxane Gay, Hari Kunzru, J.M. Coetzee, Rachel Cusk, Jesmyn Ward? A lost manuscript by Claude McKay? A novel by Elif Batuman? Short stories by Penelope Lively? A memoir by Yiyun Li? Books from no fewer than four Millions staffers? It’s a feast. We hope the following list of 80-something upcoming books peps you up for the (first half of the) new year. You’ll notice that we’ve re-combined our fiction and nonfiction lists, emphasizing fiction as in the past. And, continuing a tradition we started this fall, we’ll be doing mini previews at the beginning of each month — let us know if there are other things we should be looking forward to. (If you are a big fan of our bi-annual Previews and find yourself referring to them year-round, please consider supporting our efforts by becoming a member!)
Difficult Women by Roxane Gay: Gay has had an enormously successful few years. In 2014, her novel, An Untamed State, and an essay collection, Bad Feminist, met with wide acclaim, and in the wake of unrest over anti-black police violence, hers was one of the clearest voices in the national conversation. While much of Gay’s writing since then has dealt in political thought and cultural criticism, she returns in 2017 with this short story collection exploring the various textures of American women’s experience. (Ismail)
Human Acts by Han Kang: Korean novelist Kang says all her books are variations on the theme of human violence. The Vegetarian, her first novel translated into English, arrested readers with the contempt showered upon an “unremarkable” wife who became a vegetarian after waking from a nightmare. Kang’s forthcoming Human Acts focuses on the 1980 Korean Gwangju Uprising, when Gwangju locals took up arms in retaliation for the massacre of university students who were protesting. Within Kang tries to unknot “two unsolvable riddles” — the intermingling of two innately human yet disparate tendencies, the capacity for cruelty alongside that for selflessness and dignity. (Anne)
Transit by Rachel Cusk: Everyone who read and reveled in the nimble formal daring of Outline is giddy to read Transit, which follows the same protagonist, Faye, as she navigates life after separating from her husband. Both Transit and Outline are made up of stories other people tell Faye, and in her rave in The Guardian, Tessa Hadley remarks that Cusk’s structure is “a striking gesture of relinquishment. Faye’s story contends for space against all these others, and the novel’s meaning is devolved out from its centre in her to a succession of characters. It’s a radically different way of imagining a self, too — Faye’s self.” (Edan)
4321 by Paul Auster: Multiple timelines are nothing new at this point, but it’s doubtful they’ve ever been used in quite the way they are in 4321, Auster’s first novel since his 2010 book Sunset Park. In his latest, four timelines branch off the moment the main character is born, introducing four separate Archibald Isaac Fergusons that grow more different as the plot wears on. They’re all, in their own ways, tied up with Amy Schneiderman, who appears throughout the book’s realities. (Thom)
Collected Stories by E.L. Doctorow: Doctorow is known for historical novels like Ragtime and The Book of Daniel, but he also wrote some terrific stories, and shortly before his death in 2015 he selected and revised 15 of his best. Fans who already own his 2011 collection All the Time in the World may want to give this new one a miss, since many of the selections overlap, but readers who only know Doctorow as a novelist may want to check out his classic early story “A Writer in the Family,” as well as others like “The Water Works” and “Liner Notes: The Songs of Billy Bathgate,” which are either precursors of or companion pieces to his novels. (Michael B.)
Enigma Variations by André Aciman: The CUNY Professor New York magazine called “the most exciting new fiction writer of the 21st century” returns with a romantic/erotic bildungsroman following protagonist Paul from Italy to New York, from adolescence to adulthood. Kirkus called it an “eminently adult look at desire and attachment.” (Lydia)
Scratch: Writers, Money, and the Art of Making a Living, edited by Manjula Martin: Martin ran the online magazine Scratch from 2013 to 2015 and in those two years published some terrific and refreshingly transparent interviews with writers about cash money and how it’s helped and hindered their lives as artists. The magazine is no longer online, but this anthology includes many of those memorable conversations as well as some new ones. Aside from interviews with the likes of Cheryl Strayed and Jonathan Franzen, the anthology also includes honest and vulnerable essays about making art and making a career –and where those two meet — from such writers as Meaghan O’Connell and Alexander Chee. It’s a useful and inspiring read. (Edan)
Homesick for Another World by Ottessa Moshfegh: A long, dull day of jury duty in 2008 was redeemed by a lunchtime discovery of Unsaid magazine and its lead story “Help Yourself!” by Moshfegh, whose characters were alluring and honest and full of contempt. I made a point to remember her name at the time, but now Moshfegh’s stories appear regularly in The Paris Review and The New Yorker, and her novel Eileen was shortlisted for the 2016 Booker Prize. Her debut collection of stories, Homesick for Another World, gathers many of these earlier stories, and is bound to show why she’s considered one of literature’s most striking new voices. (Anne)
Glaxo by Hernán Ronsino: Ronsino’s English-language debut (translated by Samuel Rutter) is only 100 pages but manages to host four narrators and cover 40 years. Set in a dusty, stagnating town in Argentina, the novel cautiously circles around a decades-old murder, a vanished wife, and past political crimes. Allusions to John Sturges’s Last Train From Gun Hill hint at the vengeance, or justice, to come in this sly Latin American Western. (Matt)
Lucky Boy by Shanthi Sekaran: Set in Berkeley, Sekaran’s novel follows two women: Soli, an undocumented woman from Mexico raising a baby alone while cleaning houses, and an Indian-American woman struggling with infertility who becomes a foster parent to Soli’s son. Kirkus called it “superbly crafted and engrossing.” (Lydia)
A Mother’s Tale by Phillip Lopate: One day in the mid-’80s, Lopate sat down with his tape recorder to capture his mother’s life story, which included, at various times, a stint owning a candy store, a side gig as an actress and singer, and a job on the line at a weapons factory at the height of World War II. Although Lopate didn’t use the tapes for decades, he unearthed them recently and turned them into this book, which consists of a long conversation between himself, his mother, and the person he was in the ’80s. (Thom)
The Gringo Champion by Aura Xilonen: Winner of Mexico’s Mauricio Achar Prize for Fiction, Xilonen’s novel (written when she was only 19, and here translated by Andrea Rosenberg) tells the story of a young boy who crosses the Rio Grande. Mixing Spanish and English, El Sur Mexico lauded the novel’s “vulgar idiom brilliantly transformed into art.” (Lydia)
Selection Day by Aravind Adiga: If Selection Day goes on to hit it big, we may remember it as our era’s definitive cricket novel. Adiga — a Man Booker laureate who won the prize in 2008 for his epic The White Tiger — follows the lives of Radha and Manju, two brothers whose father raised them to be master batsmen. In the way of The White Tiger, all the characters are deeply affected by changes in Indian society, most of which are transposed into changes in the country’s huge cricket scene. (Thom)
Huck Out West by Robert Coover: Coover, the CAVE-dwelling postmodern luminary, riffs on American’s great humorist in this sequel to Mark Twain’s classic set out West. From the opening pages, in which Tom, over Huck’s objections, sells Jim to slaveholding Cherokees, it is clear that Coover’s picaresque will be a tale of disillusionment. Unlike Tom, “who is always living in a story he’s read in a book so he knows what happens next,” Huck seems wearied and shaken by his continued adventures: “So many awful things had happened since then, so much outright meanness. It was almost like there was something wicked about growing up.” (Matt)
Fever Dream by Samanta Schweblin. Nobel Laureate Mario Vargas Llosa called Schweblin “one of the most promising voices in modern literature in Spanish.” The Argentinian novelist’s fifth book, about “obsession, identity and motherhood,” is her first to be translated into English (by Megan McDowell). It’s been described “deeply unsettling and disorientating” by the publisher and “a wonderful nightmare of a book” by novelist Juan Gabriel Vásquez. (Elizabeth)
Perfect Little World by Kevin Wilson. Wilson’s first novel, The Family Fang, was about the children of performance artists. His second is about a new mother who joins a sort of utopian community called the “Infinite Family Project,” living alongside other couples raising newborns, which goes well until eventually “the gentle equilibrium among the families is upset and it all starts to disintegrate.” He’s been described by novelist Owen King as the “unholy child of George Saunders and Carson McCullers.” (Elizabeth)
Foreign Soil by Maxine Beneba Clarke: Clarke’s award-winning short story collection Foreign Soil is now being published in the U.S. and includes a new story “Aviation,” specifically written for this edition. These character-driven stories take place worldwide — Australia, Africa, the West Indies, and the U.S. — and explore loss, inequity, and otherness. Clarke is hailed as an essential writer whose collection challenges and transforms the reader. (Zoë)
American Berserk by Bill Morris: Five years ago, a Millions commenter read Morris’s crackling piece about his experience as a young reporter in Chambersburg, Penn., during the 1970s: “Really, I wish this essay would be a book.” Ask, and you shall receive. To refresh your memories, Morris encountered what one would expect in the pastoral serenity of Pennsylvania Dutch country: “Kidnapping, ostracism, the paranormal, rape, murder, insanity, arson, more murder, attempted suicide — it added up to a collective nervous breakdown.” Morris has plenty to work with in these lurid tales, but the book is also about the pleasure of profiling those “interesting nobodies” whose stories never make it to the front page, no matter how small the paper. (Matt)
Lincoln in the Bardo by George Saunders: For Saunders fans, the prospect of a full-length novel from the short-story master has been something to speculate upon, if not actually expect. Yet Lincoln in the Bardo is a full 368-page blast of Saunders — dealing in the 1862 death of Abraham Lincoln’s son, the escalating Civil War, and, of course, Buddhist philosophy. Saunders has compared the process of writing longer fiction to “building custom yurts and then somebody commissioned a mansion” — and Saunders’s first novel is unlikely to resemble any other mansion on the block. (Jacob)
The Schooldays of Jesus by J.M. Coetzee: This sequel to the Nobel Prize-winning South African author’s 2013 novel The Childhood of Jesus picks up shortly after Simón and Inés flee from authorities with their adopted son, David. Childhood was a sometimes thin-feeling allegory of immigration that found Coetzee meditating with some of his perennial concerns — cultural memory, language, naming, and state violence — at the expense of his characters. In Schooldays, the allegorical element recedes somewhat into the background as Coetzee tells the story of David’s enrollment in a dance school, his discovery of his passion for dancing, and his disturbing encounters with adult authority. This one was longlisted for the 2016 Man Booker Prize. (Ismail)
To Be a Machine by Mark O’Connell: Millions staffer and author of Millions Original Epic Fail O’Connell brings his superb writing and signature wit and empathy to a nonfiction exploration of the transhumanist movement, complete with cryogenic freezing, robots, and an unlikely presidential bid from the first transhumanist candidate. O’Connell’s sensibility — his humanity, if you will — and his subject matter are a match made in heaven. It’s an absolutely wonderful book, but don’t take my non-impartial word for it: Nicholson Baker and Margaret Atwood have plugged it too. (Lydia)
The Refugees by Viet Thanh Nguyen: Pulitzer Prize Winner Nguyen’s short story collection The Refugees has already received starred pre-publication reviews from Kirkus Reviews and Publishers Weekly, among others. Nguyen’s brilliant new work of fiction offers vivid and intimate portrayals of characters and explores identity, war, and loss in stories collected over a period of two decades. (Zoë)
Amiable with Big Teeth by Claude McKay: A significant figure in the Harlem Renaissance, McKay is best-known for his novel Home to Harlem — which was criticized by W.E.B. Dubois for portraying black people (i.e. Harlem nightlife) as prurient — “after the dirtier parts of its filth I feel distinctly like taking a bath.” The novel went on to win the prestigious (if short-lived) Harmon Gold Medal and is widely praised for its sensual and brutal accuracy. In 2009, UPenn English professor Jean-Christophe Cloutier discovered the unpublished Amiable with Big Teeth in the papers of notorious, groundbreaking publisher Samuel Roth. A collaboration between Cloutier and Brent Hayes Edwards, a long-awaited, edited, scholarly edition of the novel will be released by Penguin in February. (Sonya)
Dear Friend, from My Life I Write to You in Your Life by Yiyun Li: The Oakland-based Li delivers this memoir of chronic depression and a life lived with books. Weaving sharp literary criticism with a perceptive narrative about her life as an immigrant in America, Your Life isn’t as interested in exploring how literature helps us make sense of ourselves as it is in how literature situates us amongst others. (Ismail)
Autumn by Ali Smith: Her 2015 Baileys prize-winning How to Be Both was an experiment in how a reader experiences time. It has two parts, which can be read in any order. Now, Smith brings us Autumn, the first novel in what will be a Seasonal quartet — four stand-alone books, each one named after one of the four seasons. Known for writing with experimental elegance, she turns to time in the post Brexit world, specifically Autumn 2016, “exploring what time is, how we experience it, and the recurring markers in the shapes our lives take.” (Claire)
A Separation by Katie Kitamura: A sere and unsettling portrait of a marriage come undone, critics are hailing Kitamura’s third book as “mesmerizing” and “magnificent.” The narrator, a translator, goes to a remote part of Greece in search of her serially unfaithful husband, only to be further unmoored from any sense that she (and in turn the reader) had of the contours of their shared life. Blurbed by no fewer than six literary heavyweights — Rivka Galchen, Jenny Offill, Leslie Jamison, Teju Cole, Rachel Kushner, and Karl Ove Knausgaard — A Separation looks poised to be the literary Gone Girl of 2017. (Kirstin B.)
Things We Lost in the Fire by Mariana Enriquez: This young Argentinian journalist and author has already drawn a lot of attention for her “chilling, compulsive” gothic short stories. One made a December 2016 issue of The New Yorker; many more will be published this spring as Things We Lost in the Fire, which has drawn advanced praise from Helen Oyeyemi and Dave Eggers. The stories themselves follow addicts, muggers, and narcos — characters Oyeyemi calls “funny, brutal, bruised” — as they encounter the terrors of everyday life. Fair warning: these stories really will scare you. (Kaulie)
Universal Harvester by John Darnielle. Darnielle is best known for the The Mountain Goats, a band in which he has often been the only member. But his debut novel, Wolf in White Van, was nominated for a number of awards, including the National Book Award for Fiction. His second novel, set in Iowa in the 1990s, is about a video store clerk who discovers disturbing scenes on the store’s tapes. (Elizabeth)
300 Arguments by Sarah Manguso: It’s as if, like the late David Markson, Manguso is on a gnomic trajectory toward some single, ultimate truth expressed in the fewest words possible — or perhaps her poetic impulses have just grown even stronger over time. As its title suggests, this slim volume comprises a sequence of aphorisms (“Bad art is from no one to no one”) that in aggregate construct a self-portrait of the memoirist at work. “This book is the good sentences from the novel I didn’t write,” its narrator writes. (Kirstin B.)
The Woman Next Door by Yewande Omotoso: Set in South Africa, Omotoso’s novel describes the bitter feud between two neighbors, both well-to-do, both widows, both elderly, one black, one white. Described by the TLS as one of the “Best Books by Women Every Man Should Read.” (Lydia)
Running by Cara Hoffman: The third novel from Hoffman, celebrated author of Be Safe I Love You, Running follows a group of three outsiders trying to make it the red light district of Athens in the 1980s. Bridey Sullivan, a wild teenager escaping childhood trauma in the States, falls in with a pair of young “runners” working to lure tourists to cheap Athenian hotels in return for bed and board. The narrative itself flashes between Athens, Sullivan’s youth, and her friend and runner Milo’s life in modern-day New York City. According to Kirkus, this allows the novel to be “crisp and immediate,” “beautiful and atmospheric,” and “original and deeply sad.” (Kaulie)
Lower Ed by Tressie McMillan Cottom: Academic and Twitter eminence McMillan Cottom tackles a subject that, given a recent spate of lawsuits, investigations, and closings, was front-page news for a good part of 2016. Drawing on interviews with students, activists, and executives at for-profit colleges and universities, Lower Ed aims to connect the rise of such institutions with ballooning levels of debt and larger trends of income inequality across the U.S. (Kirstin B.)
Abandon Me by Melissa Febos. Febos’s gifts as a writer seemingly increase with the types of subjects and themes that typically falter in the hands of many memoirists: love (both distant and immediate), family, identity, and addiction. Her adoptive father, a sea captain, looms large in her work: “My captain did not give me religion but other treasures. A bloom of desert roses the size of my arm, a freckled ostrich egg, true pirate stories. My biological father, on the other hand, had given me nothing of use but life…and my native blood.” Febos transports, but her lyricism is always grounded in the now, in the sweet music of loss. (Nick R.)
Pachinko by Min Jin Lee: A sweeping look at four generations of a Korean family who immigrates to Japan after Japan’s 1910 annexation of Korea, from the author of Free Food for Millionaires. Junot Díaz says “Pachinko confirms Lee’s place among our finest novelists.” (Lydia)
Flâneuse by Lauren Elkin: Following in the literary tradition of Charles Baudelaire, Virginia Woolf and Edgar Allan Poe, Elkin is fascinated by street wanderers and wanderings, but with a twist. The traditional flâneur was always male; Elkin sets out to follow the lives of the subversive flâneuses, those women who have always been “keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk.” In a review in The Guardian, Elkin is imagined as “an intrepid feminist graffiti artist,” writing the names of women across the city she loves; in her book, a combination of “cultural meander” and memoir, she follows the lives of flaneuses as varied as George Sand and Martha Gellhorn in order to consider “what is at stake when a certain kind of light-footed woman encounters the city.” (Kaulie)
Exit West by Mohsin Hamid: In an unnamed city, two young people fall in love as a civil war breaks out. As the violence escalates, they begin to hear rumors of a curious new kind of door: at some risk, and for a price, it’s possible to step through a portal into an entirely different place — Mykonos, for instance, or London. In a recent interview, Hamid said that the portals allowed him “to compress the next century or two of human migration on our planet into the space of a single year, and to explore what might happen after.” (Emily)
The Idiot by Elif Batuman: Between The Possessed — her 2010 lit-crit/travelogue on a life in Russian letters and her snort-inducing Twitter feed, I am a confirmed Batuman superfan. This March, her debut novel samples Fyodor Dostoevsky in a Bildungsroman featuring the New Jersey-bred daughter of Turkish immigrants who discovers that Harvard is absurd, Europe disturbed, and love positively barking. Yet prose this fluid and humor this endearing are oddly unsettling, because behind the pleasant façade hides a thoughtful examination of the frenzy and confusion of finding your way in the world. (Il’ja R.)
White Tears by Hari Kunzru: A fascinating-sounding novel about musical gentrification, and two white men whose shared obsession with hard-to-find blues recordings leads them to perdition. In a starred review, Publishers Weekly called White Tears “perhaps the ultimate literary treatment of the so-called hipster, tracing the roots of the urban bedroom deejay to the mythic blues troubadours of the antebellum South.” (Lydia)
South and West: From a Notebook by Joan Didion: Excerpts from two of the legendary writer’s commonplace books from the 1970s: one from a road trip through the American south, and one from a Rolling Stone assignment to cover the Patty Hearst trial in California. Perhaps the origin of her observation in Where I Was From: “One difference between the West and the South, I came to realize in 1970, was this: in the South they remained convinced that they had bloodied their land with history. In California we did not believe that history could bloody the land, or even touch it.” (Lydia)
All Grown Up by Jami Attenberg: A novel about a 39-year-old woman taking stock of her life, from the best-selling author of The Middlesteins and St. Mazie. This one prompted Eileen Myles to ask “Is all life junk — sparkly and seductive and devastating — just waiting to be told correctly by someone who will hold our hand and walk with us a while confirming that what we’re living is true.” Evidently so. (Lydia)
Ill Will by Dan Chaon: Dustin Tillman was a child when his parents and aunt and uncle were murdered in his home, and it was his testimony that sent his older, adopted brother, Rusty, to jail for the crime. Forty years later, he learns that Rusty is getting out based on new DNA evidence. As that news sends tremors through Dustin’s life and the life of his family, he buddies up with an ex-cop who has a theory about some local murders. As often happens in Chaon’s book, you’ll be gripped by the story and the characters from the first page, and then all of a sudden you suspect that nothing is as it seems, and you’re sucked in even further. (Janet).
The Accusation by Bandi: For readers interested in a candid look at life in North Korea, The Accusation — originally published in South Korea in 2014 — will immerse you via the stories of common folk: a wife who struggles to make daily breakfast during a famine, a factory supervisor caught between denouncing a family friend and staying on the party’s good side, a mother raising her child amidst chilling propaganda, a former Communist war hero who is disillusioned by the Party, a man denied a travel permit who sneaks onto a train so he can see his dying mother. Bandi is of course a pseudonym: according to the French edition, the author was born in 1950, lived in China, and is now an official writer for the North Korean government. The stories, written between 1989 and 1995, were smuggled out by a friend — and will be available to us via Grove Press. (Sonya)
The Twelve Lives of Samuel Hawley by Hannah Tinti: This new novel by the editor of One Story magazine follows a career criminal who goes straight to give his daughter a chance at a normal life. But when his daughter, Loo, gets curious about the 12 mysterious scars on her father’s body, each marking a separate bullet wound, she uncovers a history much darker than she imagined. Twelve Lives is “is one part Quentin Tarantino, one part Scheherazade, and twelve parts wild innovation,” says Ann Patchett, author of Commonwealth. (Michael B.)
The Night Ocean by Paul La Farge: Fiction meets history in The Night Ocean’s series of intricately nested narratives. A psychologist’s husband, obsessed with a did-they-or-didn’t-they affair between horror writer H.P. Lovecraft and a gay teenage admirer, disappears while attempting to solve the mystery. Set over a 100-year period and spanning latitudes from Ontario to Mexico City, this novel from New Yorker contributor La Farge promises to pull Lovecraft’s suspense into the present day with flair. (Kirstin B.)
Wait Till You See Me Dance by Deb Olin Unferth: Unferth is an author about whom many overused litspeak cliches are true: she is incisive, bitingly funny, and — here it comes–— whipsmart. A National Book Critics Circle Award finalist for her memoir, Revolution, her short stories have been published in Granta, McSweeney’s, and the Paris Review, and are collected here for the first time. (Janet)
Anything Is Possible by Elizabeth Strout: “As I was writing My Name Is Lucy Barton,” said Strout, the New York Times bestselling author and Pulitzer Prize winner, of her 2016 novel, “it came to me that all the characters Lucy and her mother talked about had their own stories.” Anything is Possible was written in tandem to Lucy Barton. For Strout’s many devoted readers, this novel promises to expand on and add depth to the story, while exploring themes for love, loss, and hope in a work that, “recalls Olive Kitteridge in its richness, structure, and complexity.” (Claire)
Devil on the Cross by Ngũgĩ wa Thiong’o: Set in post-colonial Kenya, this troubling allegory from the perennial Nobel candidate explores the evil that men do and the hope that serves as its only antidote. Written while in prison, the book’s proverbial structure and unapologetically political message — think Karl Marx delivering liberation theology in East Africa — follow a young Kenyan woman, Jacinta Wariinga, who, despite grave injustice, is determined to see neither her spirit nor her culture crushed. This is the original 1982 translation from the Gikuyu language, now being rereleased as part of the Penguin Classics African Writers Series. (Il’ja)
Marlena by Julie Buntin
I was lucky enough to read an advance copy of Buntin’s remarkable debut novel, about an intense friendship between two young women in rural Michigan, and I agree with Stephanie Danler, author of Sweetbitter, who calls it “lacerating.” Aside from a riveting story and nuanced characters, Buntin has also delivered an important story about addiction and poverty in middle America. In its starred review, Booklist called it “Ferrante-esque.” (Edan)
American War by Omar El Akkad: El Akkad is an award-winning Canadian journalist, whose reporting has ranged from the war in Afghanistan to the protests in Ferguson, Mo. His brilliant and supremely disquieting debut novel opens in 2074, at the outbreak of the Second American Civil War, and follows a young Louisiana girl, Sarat Chestnut, as time and conflict gradually transform her from a child into a weapon. (Emily)
The Book of Joan by Lidia Yuknavitch: In a new kind of world, we need a new kind of hero and a reimagined Joan of Arc from Yuknavitch seems like just the thing. Following her widely lauded The Small Backs of Children, this novel takes place in the near future after world wars have turned the Earth into a war zone. Those surviving are sexless, hairless, pale-white creatures who write stories on their skin, but a group of rebels rally behind a cult leader named Jean de Men. Roxane Gay calls it, “a searing condemnation, and fiercely imaginative retelling.” (Claire)
The Last Neanderthal by Claire Cameron: Our own Cameron returns with a new novel about two women separated by, oh, only 40,000 years: Girl, the eldest daughter in the last family of Neanderthals, and present-day archeologist Rosamund Gale, who is excavating Neanderthal ruins while pregnant. How these two stories echo and resonate with one another will be just one of its delights. Such an ingenious premise could only come from the writer who brought us The Bear, which O, The Oprah Magazine deemed “a tender, terrifying, poignant ride” and which People gave 4 stars, saying “it could do for camping what Jaws did for swimming.” (Edan)
Startup by Doree Shafrir: Probably you know Shafrir by her byline at Buzzfeed — her culture writing always whipsmart, current, and grounded. Shafrir’s debut novel sounds like more of the same: three people working in the same Manhattan office building with colliding desires, ambitions, and relations, head for major conflict and reckoning as scandal sucks each of them into a media-and-money vortex. Hilarity, a mindfulness app, and an errant text message are also involved. Looking forward to this one. (Sonya)
What It Means When a Man Falls from the Sky by Lesley Nneka Arimah: This debut collection of short stories, which takes its name from a story published in Catapult in 2015 to wide acclaim — one that seamlessly blends magical realism and a kind of sci-fi, resulting in a one-of-a-kind dystopia — announces the arrival of a brilliant new talent. Don’t take our word for it: one story, “Who Will Greet You at Home,” appeared in The New Yorker and was a National Magazine Award finalist, and others are already drawing high praise from across the publishing community. These stories explore the ties that bind us together, but in magical, even subversive forms. (Kaulie)
Void Star by Zachary Mason: In Mason’s second novel, three people living in wildly different circumstances in a dystopian near-future are drawn together by mysterious forces. The future that Mason imagines in Void Star is not particularly startling — extreme climate change, ever-widening class divisions, and AIs who have evolved well beyond the understanding of the humans who created them — but what sets Void Star apart is the stunning and hallucinatory beauty of Mason’s prose. Both a speculative thriller and a meditation on memory and mortality. (Emily)
Imagine Wanting Only This by Kristen Radtke: I tell as many people as possible how cool I think Radtke is, so that when she blows up I’ll have proof that I was ahead of the curve. Besides having her own career as a writer and illustrator, she is the managing editor of Sarabande Books (where she not only published Thrown by Kerry Howley — one of my favorite books of the last 5 years — but designed its killer cover). Her first book is graphic memoir/travelogue about her life, family history, and a trip around the world in search of ruins. (Janet)
Sunshine State by Sarah Gerard: The author goes home in Gerard’s thorough, personal, and well-researched collection of essays on Florida, its inhabitants, and the ways they prey upon each another. As far as Floridian bona fides, it doesn’t get much more Sunshine State than growing up on the Gulf in an Amway family, and truly in the book’s eight essays, Gerard covers more of the state’s ground than Walkin’ Lawton Chiles. (Nick M.)
Kingdom of the Young by Edie Meidav: A new collection of the stories by novelist who brought us Lola, California, Crawl Space, and The Far Field. The stories have invited comparisons to Vladimir Nabokov, Clarice Lispector and Italo Calvino. (Lydia)
Men Without Women by Haruki Murakami: The seven stories in Murakami’s new collection concern the lives of men who, for one reason or another, find themselves alone. In “Scheherazade,” a man living in isolation receives regular visits from a woman who claims to remember a past life as a lamprey; in “Yesterday,” a university student finds himself drawn into the life of a strange coworker who insists that the student go on a date with his girlfriend. (Emily)
The Purple Swamp Hen by Penelope Lively: Across her many wonderful books, Lively has ranged from low farce (How It All Began) to high feeling (Moon Tiger), from children’s literature to a memoir on old age. Now comes her fourth story collection, the first in 20 years. The title story draws on reliably entertaining source material: the meretricious lives of Roman rulers. Robert Graves turned to a stammering Claudius for his narrator, Lively to a less exalted personage: a purple swamp hen. Other stories involve trouble: a husband and wife working their way out of it, and a betrayed wife doing her best to cause some for her husband. (Matt)
Woman No. 17 by Edan Lepucki: Our own Lepucki has always had keen insight into the psyches of women — particularly so-called “difficult” protagonists. Her first novel, California, may have been about a family surviving the end of society, but it was really a post-apocalyptic domestic drama full of sharp wit and observations. Her sophomore effort is more grounded in reality but equally cutting. Lady is a writer struggling to raise her two kids and finish her memoir when she hires S. to help, but the artist becomes more than just a nanny for Lady’s eldest troubled son. (Tess M.)
Trajectory by Richard Russo: In this new collection, Russo, a 2016 Year in Reading contributor, takes a break from the blue-collar characters that readers have come to know from his bestselling novels Nobody’s Fool and Empire Falls to spin tales of struggling novelists trying their hands at screenwriting and college professors vacationing in Venice. No matter. Readers can still count on Russo to deliver deeply human stories of heartbreak leavened by gently black humor. (Michael B.)
The Dinner Party by Joshua Ferris: The book after Ferris’s Man Booker shortlisted To Rise Again at a Decent Hour is a collection of short stories. The title story, first published by The New Yorker in 2008, is about a couple who invite a boring couple over to dinner (“even their goddam surprises are predictable,”) only to be surprised when the boring couple manage to surprise by not showing up. The collection pulls together stories that promise the, “deeply felt yearnings, heartbreaking absurdity, and redemptive humor of life,” for which Ferris is so well known. (Claire)
The Leavers by Lisa Ko. Ko’s debut novel has already won the 2016 Pen/Bellwether Award for Socially Engaged Fiction, a prize created and selected by Barbara Kingsolver. The contest awards a novel “that addresses issues of social justice and the impact of culture and politics on human relationships,” and Ko’s book certainly fits that laudable description. The novel is the story of Deming Gao, the son of a Chinese-American immigrant mother who, one day, never returns home from work. Adopted by white college professors, Deming is renamed and remade in their image — but his past haunts him. (Nick R.)
Isadora by Amelia Gray. The endlessly inventive Gray (whose story “Labyrinth” from The New Yorker is a gem) creates a fictional interpretation of Isadora Duncan, once described as the “woman who put the Modern into Modern Dance.” A dancer who mixed the classical, sacred, and sensual, Duncan is the perfect subject matter for Gray; if a writer can expertly resurrect the Theseus myth at a small-town fair, then she can do justice to a life as inspiring — and troubled — as Duncan’s. (Nick R.)
Chemistry by Weike Wang: In this debut novel, a graduate student in chemistry learns the meaning of explosive when the rigors of the hard sciences clash with the chronic instability of the heart. A traditional family, a can’t-miss fiancé, and a research project in meltdown provide sufficient catalyst to launch the protagonist off in search of that which cannot be cooked up in the lab. If the science bits ring true, in her diabolical hours, the author doubles as a real-life organic chemist. (Il’ja R.)
No One Can Pronounce My Name by Rakesh Satyal: Satyal’s novel takes place in a suburb near Cleveland and tells the story of Harit and Ranjana, who are both Indian immigrants that are experiencing loss. Harit’s sister has passed away and he’s caring for his mother; Ranjana’s son has left to college and she’s worrying her husband is having an affair. These two characters form a friendship amidst grief and self-discovery in a novel that is both heartfelt and funny. (Zoë)
Bad Dreams and Other Stories by Tessa Hadley: The New Yorker stalwart (whose title story “Bad Dreams” appeared in the magazine in 2013) comes out with her third collection of short stories in the past decade. In one set in 1914, a schoolteacher grapples with the rising power of the women’s suffrage movement; in another, a young housesitter comes across a mysterious diary. In general, the stories let tiny events twirl out into moments of great consequence — in the title story, a young child’s nightmare turns out to be the hinge of the plot. (Thom)
One Day We’ll All Be Dead and None of This Will Matter by Scaachi Koul. Ah, the current frontrunner for Most Relatable Title of the Coming Year. The Canadian writer’s debut essay collection is “about growing up the daughter of Indian immigrants in Western culture, addressing sexism, stereotypes, and the universal miseries of life.” Fans of her work online will be eager to see her on the printed page. Canadian journalist (and Koul’s former journalism professor) Kamal Al-Solaylee said of her writing, “To me, she possesses that rarest of gifts: a powerful, identifiable voice that can be heard and appreciated across platforms and word counts.” (Elizabeth)
Salt Houses by Hala Alyan: In her debut novel, Alyan tells the story of a Palestinian family that is uprooted by the Six-Day War of 1967 and Saddam Hussein’s invasion of Kuwait in 1990. This heartbreaking and important story examines displacement, belonging, and family in a lyrical style. (Zoë)
So Much Blue by Percival Everett: In Everett’s 30th book, an artist toils away in solitude, painting what may be his masterpiece. Alone in his workspace, secluded from his children, best friend, and wife, the artist recalls memories of past affairs, past adventures, and all he’s sacrificed for his craft. (Nick M.)
The Accomplished Guest by Ann Beattie: 1976 was a good year for Beattie: she published her first story collection, Distortions, as well as her debut novel, Chilly Scenes of Winter. Forty years and roughly 20 books later, Beattie has a new collection of stories, closely following last year’s The State We’re In, linked stories set in Maine. One defining trait of Beattie’s short fiction is her fondness for quirks: “However well you write, you can become your own worst enemy by shaping it so highly that the reader can relate to it only on its own terms. Whereas if you have some little oddities of everyday life that aren’t there to be cracked, it seems to me that people can identify with it.” (Nick R.)
Hunger by Roxane Gay: A few years ago, Gay wrote Tumblr posts on cooking and her complex relationship with food that were honest yet meditative. It was on the cusp of her breakthrough essay collection Bad Feminist. Now she may be a household name, but her second nonfiction book delves into the long-running topic of the role food plays in her family, societal, and personal outlook with the same candor and empathy. (Tess M.)
The Last Kid Left by Rosecrans Baldwin: The Morning News cofounder and author of Paris, I Love You but You’re Bringing Me Down returns with a murder mystery/romance/coming-of-age story set in New Hampshire. (Lydia)
Dear Cyborgs by Eugene Lim: Lim has long been publisher of the small, avant-garde Ellipsis Press, whose authors, including Joanna Ruocco, Evelyn Hampton, Jeremy M. Davies, and Lim himself, are remarkable for their unique voices, their attention to language and experimentation. Together they make a significant if lesser-known body of work. Dear Cyborg, Lim’s third novel, will be his first with a major press (FSG). Tobias Carroll has said, “Lim’s novels tread the line between the hypnotically familiar and the surreptitiously terrifying.” With comparisons to Tom McCarthy and Valeria Luiselli and praise from Gary Lutz and Renee Gladman, Lim’s work is worth seeking out. (Anne)
The Gypsy Moth Summer by Julia Fierro: In this follow-up to Cutting Teeth, about a zeitgeisty group portrait of Brooklyn hipster moms, Fierro turns back the clock to the summer of 1992 when a plague of gypsy moths infests Avalon, an islet off the coast of Long Island, setting in motion a complex tale of interracial love, class conflict, and possible industrial poisoning at the local aircraft factory. Joanna Rakoff, author of My Salinger Year, says Fierro, director of Brooklyn’s Sackett Street Writers’ Workshop, has written “a novel to slowly savor, settling in with her characters as you would old friends.” (Michael B.)
The City Always Wins by Omar Robert Hamilton: A debut novel about the Egyptian revolution from filmmaker and activist Hamilton, who has written about the events of Tahrir square for The Guardian and elsewhere. (Lydia)
Sing, Unburied, Sing by Jesmyn Ward: The Odyssey has been repeatedly invoked by early reviewers of Sing, Unburied, Sing, which follows its protagonist on the journey from rural Mississippi to the state penitentiary and beyond. In the hands of a less talented writer, that parallel might seem over-the-top, but in the hands of one of America’s most talented, generous, and perceptive writers, it’s anything but. (Nick M.)
The Passenger by Cormac McCarthy: What does Niels Bohr’s take on quantum mechanics have to do with Johann Sebastian Bach and the suicide of a young New Orleans woman? Perhaps nothing. Or perhaps this, overheard at an advance reading — from 2015 — of Cormac McCarthy’s long-awaited new novel: “Intelligence is numbers; it’s not words. Words are things we made up.” That semi-colon haunts me. From Knopf: a “book one” and “book two” by McCarthy are set for a March 2017 release. A week later the story changes. Maybe July. Perhaps December. With McCarthy, the calculus remains inscrutable but the wait worth it. (Il’ja R.)
And So On by Kiese Laymon: We’ve learned virtually nothing new about this book since our last preview, but continue to expect it in 2017. As I said then, “Laymon is a Mississippi-born writer who has contributed to Esquire, ESPN, the Oxford American, Guernica, and writes a column for The Guardian. His first novel, Long Division, makes a lot of those ‘best books you’ve never heard of’ lists, so feel free to prove them wrong by reading it right now. What we know about his second novel is that he said it’s ‘going to shock folks hopefully. Playing with comedy, Afro-futurist shit and horror.’” (Janet)
The Seventh Function of Language by Laurent Binet: A madcap critical theory mystery by the author of HHhH. In the new novel, a police detective comes up against the likes of Jacques Derrida, Umberto Eco, Gilles Deleuze, Michel Foucault, Judith Butler, and Julia Kristeva. It sounds bonkers. (Lydia)
Sour Heart by Jenny Zhang: Zhang’s got range: the poet/Rookie writer/essayist/ and now fiction writer has a voice that’s at once incisive and playful and emboldened. “If I fart next to a hulking white male and then walk away, have I done anything important?” she asks in her chapbook Hags, when wondering about ways to fight imperialism; she has written of encounters with white privilege as a Chinese American, of messiness and feelings and depression, of errata and text messages and Tracey Emin, and of resisting Donald Trump. Zhang’s sure to bring this force to her first collection of short stories, Sour Heart, which will be the first book published by Lena Dunham’s Lenny imprint. (Anne)
Made for Love by Alissa Nutting: Hazel ran out of her husband and moved into her father’s retirement community, a trailer park for senior citizens. She’s laying low for a while. Things are complicated, though. Her husband is the founder and CEO of Gogol Industries, a tech conglomerate bent on making its wares ubiquitous in everyday life, and he’s determined to use the company’s vast, high-tech resources to get her back. Meanwhile, did I mention Hazel’s father is obsessed with a realistic sex robot? (Nick M.)
What We Lose by Zinzi Clemmons: A debut novel from Apogee Journal cofounder and contributing editor at LitHub. Thandi loses her South African mother and navigates the process of grieving and growing up in Pennsylvania. (Lydia)
And Now We Have Everything by Meaghan O’Connell: Millions Year in Reading alum and New York magazine’s The Cut columnist O’Connell will bring her signature voice to a collection of essays about motherhood billed as “this generation’s Operating Instructions.” Readers who follow O’Connell’s writing for The Cut or her newsletter look forward to a full volume of her relatable, sometimes mordant, sometimes tender reflections on writing and family life. (Lydia)
This Will Be My Undoing by Morgan Jerkins: Jerkins is way too accomplished for her age, but her range of skills and interests – 19th-century Russian lit, postwar Japanese lit, speaker of six languages, editor, assistant literary agent — is so awesome I just can’t begrudge her. Jerkins writes reportage, personal essays, fiction, profiles, interviews, literary criticism, and sports and pop culture pieces. Now she has an essay collection coming out: This Will Be My Undoing. Some of her previously published essays include “The Psychic Toll of Reading the News While Black”, “Why I Got a Labiaplasty in My 20s”, and “How Therapy Doesn’t Make Me a Bad Christian” — all of which may or may not be collected in the new book; but you get a feel for the great stuff we can expect. (Sonya)
Sharp by Michelle Dean: Dean has made a name for herself as an astute feminist journalist and critic for the likes of The Guardian, the New Republic, and The Nation. Her work often focuses on the intersection of crime, culture, and literature. So it’s fitting that her first book is nonfiction on other powerhouse female critics. (Tess M.)
Now in its second glorious decade, the Year in Reading has become a Millions tradition, featuring contributions from a roster of emerging and marquee authors, staff writers, and friends of the site. It’s an effort that yields hundreds of books for to-be-read piles, as well as some of the best writing we run all year.
After 13 years of solo striving, this was the first year that site editor C. Max Magee finally called for reinforcements; we happily stepped into the breach (now that we’ve seen the amount of work that goes into this, we’re a little frightened of him). It has been a thrill to look for exciting voices, to send emails like carrier pigeons off into the universe and hope they’ll come back bearing book recommendations from Stephen King (maybe next year). If you follow the literary world, you’d think that everyone is reading Elena Ferrante 24/7. And while lots of people are (you’ll see), Year in Reading is also our annual chance to peek behind the curtain at people’s singular reading lives—who went down a comics wormhole, or read multiple Freddie Mercury biographies, or discovered August Wilson for the first time. And not only what they read, but how they felt about what they read–how the reading shaped the year.
There are a huge number of books represented in the series this year, many fantastic lists, and many extraordinary meditations on reading and life. We think you’ll enjoy reading them as much as we enjoyed putting them together. As in prior years, the names of our 2015 contributors will be unveiled throughout the month as their entries are published. Bookmark this post, load up the main page, subscribe to our RSS feed, or follow us on Facebook or Twitter to make sure you don’t miss an entry.
– Your Year in Reading Editors, Lydia Kiesling & Janet Potter
Stephen Dodson, co-author of Uglier Than a Monkey’s Armpit, proprietor of Languagehat.
Ottessa Moshfegh, author of Eileen.
Atticus Lish, author of Preparation for the Next Life.
Angela Flournoy, author of The Turner House.
Claire Messud, author of The Woman Upstairs.
Celeste Ng, author of Everything I Never Told You.
Nell Zink, author of Mislaid.
Claire Vaye Watkins, author of Gold Fame Citrus.
Chris Kraus, author of Summer of Hate.
Katrina Dodson, translator of The Complete Stories of Clarice Lispector.
Joyce Carol Oates, author of The Accursed, among many other books.
Saeed Jones, author of Prelude to Bruise.
The Book Report, everyone’s favorite literary show.
Bijan Stephen, associate editor at the New Republic.
Garth Risk Hallberg, contributing editor for The Millions, author of City on Fire.
Lydia Kiesling, staff writer for The Millions and creator of the Modern Library Revue.
Janet Potter, staff writer for The Millions.
Elizabeth Minkel, staff writer for The Millions.
Emily St. John Mandel, staff writer for The Millions and author of Station Eleven.
Michael Schaub, staff writer for The Millions.
Thomas Beckwith, social media and previews editor for The Millions.
Anne K. Yoder, staff writer for The Millions.
Chigozie Obioma, author of The Fishermen.
Greg Hrbek, author of Not on Fire, but Burning.
Terry McMillan, author of Waiting to Exhale.
Sasha Frere-Jones, writer and musician.
Matthew Salesses, author of The Hundred-Year Flood.
Meaghan O’Connell, author of And Now We Have Everything.
Cristina Henríquez, author of Come Together, Fall Apart.
Vinson T. Cunningham, contributing writer for The New Yorker.
J.M. Ledgard, author of Submergence.
Nadifa Mohamed, author of The Orchard of Lost Souls.
Manjula Martin, editor of SCRATCH: Writers, Money, and the Art of Making a Living.
Lauren Groff, author of Fates and Furies.
Alexander Chee, author of Edinburgh.
Olivia Laing, author of The Lonely City.
Rahawa Haile, author of short stories and essays.
Rumaan Alam, author of Rich and Pretty.
Justin Taylor, author of Flings.
Julia Alvarez, author of How the Garcia Girls Lost Their Accents.
Jaquira Díaz, editor of 15 Views of Miami .
Dave Cullen, author of Columbine.
Hannah Gersen, staff writer for The Millions.
Tess Malone, associate editor for The Millions.
Matt Seidel, staff writer for The Millions.
Claire Cameron, staff writer for The Millions, author of The Bear.
Nick Ripatrazone, staff writer for The Millions, author of We Will Listen for You.
Edan Lepucki, staff writer for The Millions, author of California.
Viet Thanh Nguyen, author of The Sympathizer.
Daniel José Older, author of Shadowshaper.
Lincoln Michel, author of Upright Beasts.
Rebecca Carroll, author of Saving the Race.
Ana Castillo, author of So Far from God.
Patrick Rothfuss, author of The Name of the Wind.
Katie Coyle, author of Vivian Apple at the End of the World.
Sady Doyle, a writer in New York.
Patricia Engel, author of Vida.
Manuel Muñoz, author of What You See in the Dark.
Karolina Waclawiak, author of The Invaders.
Hamilton Leithauser, a singer/songwriter in New York City.
Catie Disabato, author of The Ghost Network.
Parul Sehgal, senior editor at The New York Times Book Review.
Margaret Eby, author of South Toward Home.
Tahmima Anam, author of A Golden Age.
Sandra Cisneros, author of Have You Seen Marie?.
Brian Etling, intern for The Millions.
Nick Moran, special projects editor for The Millions.
Jacob Lambert, staff writer for The Millions.
Michael Bourne, staff writer for The Millions.
Bruna Dantas Lobato, intern for The Millions.
Bill Morris, staff writer for The Millions, author of Motor City Burning.
Summer Brennan, author of The Oyster War.
Kerry Howley, author of Thrown.
Rachel Eliza Griffiths, author of Lighting the Shadow.
Maggie Nelson, author of The Argonauts.
Lauren Holmes, author of Barbara the Slut and Other People.
Kate Harding, author of Asking for It.
Year in Reading Outro.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
I don’t know when this entry will run, but I am writing it on a Friday, and I’m supposed to have a baby on Tuesday. I’ve been home since Wednesday, prowling around the house — if a very pregnant person can be said to prowl — feeling lumpy and alert and expectant. It’s safe to say I’m weirding out a little. For weeks I have been in the grip of so-called nesting hormones, which are real, and which remind me of being in college and taking other people’s adderall to finish a term paper, except the term paper is cleaning baseboards, or finally buying a decent set of towels after reading a lot of information about what makes a towel nice, or creating tasteful yet affordable shared adult/baby bedroom decor out of an old calendar and 12 discount frames from Amazon. I’ve been reading a lot of Amazon reviews, so many that it doesn’t feel like I’ve read much of anything else.
But that’s not true — I read a book of essays by Nora Ephron. And I read this article in Harper’s, about squadrons of elderly people living in campers and humping merchandise through an Amazon warehouse. Nora Ephron feels bad about her neck; I feel bad about my ankles, and my strenuous participation in late capitalism. I feel bad about the number of huge cardboard boxes filled with tiny things I’ve gotten from Amazon. I don’t want to buy any more things from Amazon, but I don’t know how I will get my cat litter, or new hooks for my shower curtain, or a tiny dehumidifier that fits in a closet, or a ceramic space heater with automatic shutoff and remote control so the baby doesn’t freeze in our cold little house. I don’t know where I will read 400 earnest assessments of which Pack and Play is the best Pack and Play. Did I mention I’m weirding out a little?
Speaking of late capitalism, last week I read four children’s books by Beverly Cleary, because I have been thinking about what it means to have a family and to be middle class and the Ramona books feel like a portrait of a kind of family and life that is maybe on its way out in America. I read select passages from The Chronicles of Narnia to get in a more cheerful frame of mind, but not The Last Battle, because that’s the one where everyone dies. I read the first few pages of Renata Adler’s Speedboat because people are always talking about it on Twitter, but I didn’t understand what was happening and I took a break and then accidentally returned it to the library. I read some stories by Julie Hayden, and want to read more, but there aren’t very many to read. I read Rabbit, Run, which I had always assumed that I’d read and it turned out I hadn’t, and which I probably shouldn’t have read while nine months pregnant since it depressed and angered the hell out of me.
I read Invisible Man. I read Austerlitz. I read The Patrick Melrose Novels and was not as charmed as I had hoped to be. I read new things, The Good Lord Bird and Life After Life and The People in the Trees and Dept. of Speculation. I read Americanah over a blissful Easter Sunday, which I spent in bed eating popcorn in an empty house. I read Station Eleven over the course of a blissful regular Saturday, with my cats and my blanket. I read Thrown, which filled me with envy of people who are professional writers. I read Submergence. I re-read Dance to the Music of Time and The French Lieutenant’s Woman and Howards End and everything by Donald Antrim. I read small parts of a vast number of books about pregnancy and babies and felt overwhelmed with details regarding the cervix. I read all of Labor Day, because Edan is in it, and I found most of the entries frankly alarming, but less so than the comments on BabyCenter. I read a lot of studies about what the numbers on a nuchal translucency mean, and many opaque articles about Fetal Alcohol Syndrome.
As with every year, there were a lot of things I wanted to read and didn’t. I didn’t read anything by Norman Rush and I didn’t read anything by Ivan Turgenev or Katherine Mansfield or Karen Russell or Ben Lerner.
There were a lot of things I wanted to write and didn’t. I didn’t write an essay about my great-grandmother Vera. I didn’t write my Anita Brookner reader, or an essay about late capitalism, or a novel. Parenthood, as far as I know, is not a condition characterized by increased productivity, so I don’t know what will happen to these plans in the new year. I will say I have found pregnancy, for the most part, unexpectedly generative and wonderful. I mean, obviously, it’s generative, but I mean generative of things other than blastocysts and embryos, or of strong feelings regarding towels. I mean of thoughts about life and books and writing. The first real things I ever wrote I wrote after I met my husband and fell in love; maybe loving a new person will open other horizons. Maybe it won’t. It’s impossible to say. For now I’m just weirding, watchful.
The good stuff: The Millions’ Notable articles
The motherlode: The Millions’ Books and Reviews
Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
Sometimes subject matter is secondary. John McPhee, for example, can write about long-haul trucking or lacrosse, subjects I’ve got no interest in, and I’ll read each word and marvel at how he’s able to make the topics so compelling, rich, and human. Kerry Howley’s subject matter, in her potent and consuming debut Thrown, falls into the same disinterest bin as trucking and lax, but she brings such vigor and aliveness, such seductive use of detail and tension, that it’s impossible not to lose oneself in the bloody, funny, brutal, balletic world of mixed martial arts. In other words, I don’t care about cage fighting, ultimate fighting, MMA; Kerry Howley made me care.
Bored and disillusioned at an academic conference on phenomenology, Howley, an essayist who’s written for the Paris Review, the New York Times Magazine, the Atlantic, and a graduate of the University of Iowa’s non-fiction program, wanders off for a break from the blowhards. She happens upon a sign that announces the Midwest Cage Championship, and takes a seat in the crowd. She’d never seen a fight before, and is taken in immediately, the blood and spectacle in righteous opposition to the chatter about Husserlian intentionality she’d just fled and academic ivory-towerdom in general. “It was as if someone had oil-slicked my synapses,” she writes, “such that thoughts could whip and whistle their way across the mind without the friction I’d come to experience as thought itself.” This first fight, witnessed by accident, is a path-changer, and Thrown is the account of Howley inserting herself into the lives of two cage fighters. Sean is an aging jab-eater, a fighter looking at his last chances who moves “like a fat man on hot coals”; Erik is a rising star, tall and lean, “a slippery-fast blossoming prodigy.” Howley gains her place as a “spacetaker,” a step up from a groupie, part of a fighter’s inner posse, with access to most aspects of their living, from the size of their burritos and videogame habits to fraternal feuds, possible parenthood, forehead sutures, and months and months of training for minutes of combat in the octagon.
She gets close to Sean and Erik both and masterfully builds tension in the lead-ups to fights–not only will they or won’t they or how well will they do, but will she still be welcomed into the fray. Howley is aware of the fragility of her role, how tenuous the position of spacetaker is–a trusted member of the group can be snubbed at any moment. It’s necessarily a physical book, and there’s sex between some lines: “I lay in bed at night picturing Erik thrown back in the swell, all his perfect plenitude, the pressure of his abundance, the way it would overbrim its boundaries at some unknown date and time. I could only wait, the energy all gathered and damned up in my limbs, for the moment of release I knew to be coming.” These fights for her are orgasm, are ecstasy.
What Howley finds during the first fight she stumbles on, and what she chases afterwards is exactly that experience of ecstasy, and she places the sport, and herself as a spectator, in a long tradition of ecstatic spectacle. The Lotus Eaters, the frenzied maenads, spirit questers on peyote. To experience this sort of ecstasy is to be removed from oneself, to be stripped of the body’s tired reminders of hunger, thirst, need. “The categories of sight and sound no longer applied,” Howley writes, “for a mind in the throes of ecstasy had expanded outward, beyond these rough tools of perception, to greet the universe without the interference of anything so frail as an eye or an ear.”
So it’s not just the drama of busted elbows, landed punches, and split brows, though Howley’s descriptions of bodies in fight are memorable; something much greater is at stake. There’s epic poetry in the cadence of her sentences, a Homeric sort of rhythm: “When the man in charge ran out of fighters he’d ask the fighters to fight again, and Sean always said yes. He never lost an amateur fight, not once. Thirty times he fought this way.” Howley signals with the elevated language, and with references to Schopenhauer and Nietzsche, that what we’re dealing with here is not just two dudes kicking the shit out of each other on a mat, but something on the level of war and wandering of the Iliad and the Odyssey, and perhaps even more elevated than that.
It’s a brushing up against the eternal, the infinite, and it’s antithetical to paying bills on time, desk jobs, and high fiber cereal. One of the most striking aspects of the book, and one I found most compelling, is Howley’s disdain for conventional middle-class life. I suspect some will find it offputting when she writes: “I would not fraternize with the healthy-minded; better to leave them to their prenatal yoga, their gluten-free diets, their dull if long lives of quietest self-preserving conformism.” Or “Should I ever decide to spawn a nuclear family and enjoy their dull companionship between bouts of desk-ridden drudgery–to live, that is, in what Sartre called “Bad Faith–I shall return with all due haste to [my hometown]. But until then, I resist the temptation, lest the comfort and simplicity of a conformist life suck me back into its maw.” The fights and her fighters serve as antidote to the “entangling mundanities of the ordinary world.” There’s an electricity here, a welcome and unexpected fervency in opposition to the widespread messages we get regarding rest, weddings, carbohydrates.
We’re all of us looking for people to justify and reinforce our own choices (which is why some no doubt will feel scoffed at by Howley), and she justifies hers with a quote from Nietzsche: “A preference for questionable and terrifying things is a symptom of strength.” One’s left wondering what pulls Howley in those directions. Early in the book, she makes short and offhand mention of a fact about her parents which I had to read three times to make sure I understood, and it raised questions the answers to which could only be guessed at. What we know: Howley seeks to flee the self and the battles serve as an expressway to that end. But if fighting is a fleeing, so is storytelling: “All narrators are fiction,” Howley writes.
The book is about fighting, yes, about an extreme sport and some of the men involved, who maybe aren’t, after all, Odysseus or Hector, but possessing of a more earthbound sort of humanity and heroism. It’s about the the strong pull of home, the powerful binds of blood, and the press, everpresent, of time. In what we seek, Howley shows us what we fear. We flee ourselves–in fights, in sex, in the light hitting the trees in the late afternoon, in the bottom of a third glass of wine–to find something else, to escape time and entangling mundanities, in an effort, ultimately, to avoid the experience of being alone.