“The wolf, I’m afraid, is inside tearing up the place.”
The severity of my daughter’s illness didn’t hit me until the day she collapsed at the hospital. An emergency response team whisked her into surgery to drain her lungs. The next morning, her heart. Her autoimmune condition, dubbed Lupus after the Latin word for wolf, the apex canine predator whose bites its facial rashes resemble, had her in its grip.
I remembered that Flannery O’Connor suffered and died prematurely from the same disease, one in which a body’s immune system wreaks warfare on its own organs. As an aspiring writer, I had embraced her stories then thrilled at the chance to teach them in literature and creative writing courses. With my students, although I’d point out the significance of her Catholicism and the South, I rarely referred to her illness. I failed to consider how the debilitating nature of her Lupus flares mandated that she live with her mother and how this development might have shaped her and the stories she chose to tell.
Flannery O’Connor believed in the autonomy of the text. She rejected the idea that her illness fed her preoccupations with distortion, humor, and redemption, saying, “The disease is of no consequence to my writing since for that I use my head and not my feet.” Her views, however, haven’t stopped critics from examining her work as a metaphor for illness, and her harrowing circumstances do validate the grotesque in her stories. Still, her stories are more than their particulars, these critical slants. They speak to the writer Ben Okri’s statement that “If we change the stories we live by, quite possibly we change our lives.” Sometimes revisiting a familiar story can help us do just that.
In the wake of my daughter’s diagnosis, O’Connor’s story “A Good Man is Hard to Find,” with its murderous characters was an unlikely choice to read. As Okri writes, “Stories can conquer fear, you know. They can make the heart bigger.” I came to O’Connor’s story intuitively, craving solace and perspective in a time of dwindling hope and thus approaching it from this new, specific angle. I considered the hard rigor of O’Connor’s disease and the grace manifest in her writing with the aim of puncturing a hole in my fear. I came looking for the “crack in everything” of which Leonard Cohen sings in “Anthem,” because “that’s how the light gets in.” The best stories operate in this realm, a transcendent place that offers a wider context for a painful ordeal.
Devotion and purpose blur emotions when one’s child falls seriously ill. There are tasks. The management of recovery takes up time and ignites skills of advocacy and organization and patience and above all empathy. Post-diagnosis, grateful I’d left my job the previous year and had a settled life that meant flexible time to care for my daughter, I thrummed with compassion, for her heart, her breath, her skin, her energy, for every part of her, for who she was in the world and how the world received her. Yet I had guilt, too, hovering around the edges.
As I taught the story to my writing students, “A Good Man is Hard to Find” explores/reveals the mysteries of faith and acceptance. Through a narrative so familiar to us these days, that of the sociopathic killer and the imprudent, well-meaning victims, O’Connor teases out greater questions about human existence and purpose. Reading the story now, I am struck by how those mysteries speak to the complexities of my own experience.
“I’ve discovered an alternative treatment for your daughter,” a friend says on a walk one morning. “No side effects. You have to go across the border to get it, though.”
She is referring to the visible side effects (weight gain, hair growth) my daughter endures from the corticosteroids that calm the inflammation and pain until her immune system settles, the same corticosteroids that saved her life. This friend’s suggestion demands we eschew a treatment which distorts my daughter’s body in uncomfortable, unattractive ways, even if it means choosing a riskier protocol (taking a drug not approved in our country, for example.)
I get her concern. To those of us not afflicted, the nuances of pain and inflammation, of bodily wounds and invasions, of hair growth and weight gain, of lost mobility and the need to rest, seem monstrous, and especially appalling for a child to bear. Although my friend’s advice expresses care for my girl, I keep a firm stance grounded in what is, rather than what I might wish were true. The exchange leaves me questioning my own empathy and flummoxed (as I often am) by the well-intentioned.
O’Connor endows her characters with afflictions of the body and soul in the name of pushing the boundaries of “mystery,” or the agency of the divine in human affairs. “The central mystery,” she writes, “is why human existence has, for all its horror, been found by God to be worth dying for.” A character like The Misfit in “A Good Man is Hard to Find” perverts the mystery, having decided to “reverse” his soul’s journey through wanton crime. He comes to represent the crux of the riddle of God’s love. Through him, O’Connor grapples with issues of belief and perhaps her own morbidity.
Tending my daughter’s illness raises other questions, akin to O’Connor’s mysteries, about the unusual amount of hardship allotted my child in her life. The Misfit boils down a central choice:
If He did what He said, then it’s nothing for you to do but throw away everything and follow Him, and if He didn’t then it’s nothing for you to do but enjoy the few minutes you got left the best way you can—by killing somebody or burning down his house or doing some other meanness to him. No pleasure but meanness.
Indeed, O’Connor would seem not to address indiscriminate suffering, favoring themes of redemption and morality instead, with her focus on “goodness” and the choice to follow Jesus.
Yet, the world O’Connor builds in “A Good Man is Hard to Find” is nothing if not random. Yes, the Grandmother insists the family visit the house from her childhood, steering them onto the rough country road; yes, her son, Bailey, doesn’t stand up to her. In fiction, character can drive plot. Then an accident occurs. And the Misfit and his gang happen to arrive to murder them all. In other words, bad luck, though faith does have a place in this world of chance and hapless choices. This world view I find oddly comforting as I can no longer subscribe to any of the “thoughts causing illness” philosophies floated by new age healing types (see Louise Hay’s You Can Heal Your Life). Not when it’s my child. To me, the coexistence of randomness and faith make comforting sense.
O’Connor considered herself to be dying from Lupus from the time of her diagnosis, though she lived with the illness for 23 more years. She spoke to friends about taking steroids to treat her flares: “Cortisone makes you think night and day until I suppose the mind dies of exhaustion if you are not rescued.” She suffered joint pain in her arms, hips and shoulders; blood transfusions; ACTH injections; bed rest; hair loss; necrosis in her jaws; a bloated face, and grew to think that she had shaped the illness through her writing, especially during the creation of Wise Blood: “I conceived the notion that I would eventually become paralyzed and was going blind and that in the book I had spelled out my own course or that in the illness I had spelled out the book.”
Most illuminatingly, she spoke about life before and after a Lupus flare, the fears of what the illness would take and relief at what it allowed. In a letter to Maryat Lee, O’Connor wrote: “This is a Return I have faced and when I faced it I was roped and tied and resigned the way it is necessary to be resigned to death and largely because I thought I would be the end of any creation, any work from me. And as I told you by the fence, it was only the beginning.”
“A Good Man is Hard to Find” is replete with symbols and small, vividly ordinary moments used to intensify horror. After the family, in the wake of their car accident near a “red gutted ditch,” meets The Misfit and his gang, comes the line: “Behind them the line of woods gaped like a dark open mouth.” Nature, like the human maw, consumes, a formless receptacle much like the evil the Misfit embraces.
O’Connor’s stories dwell in a sad emptiness as odd as her own circumstances. Much of her writing centres on issues of class and the equation of coming from “good people” and “goodness.” The Grandmother in “A Good Man is Hard to Find,” fits this bill. Foolish, vain, manipulative, and judgmental, she pins on a hat with a spray of violets to make the vacation journey. Several times, despite rising evidence to the contrary, she insists the Misfit is a “good man,” without “common blood,” who wouldn’t “shoot a lady.” His “row of strong white teeth” signifies nourishment and a lack of abject poverty and the possibility of being above crime. Indeed, O’Connor’s illness may have felt like a gun to her head, exhorting her to raise questions of faith and grace in her characters’ darkest moments.
One of my grimmest hours came a few days into my daughter’s first hospital stay, pre-diagnosis, when specialists were cycling through the room doing tests, and all options were on the table. My daughter’s white and red blood cell counts had fallen dangerously low. At 4 a.m. a pediatrician doing rounds stopped to tell me she expected the worst. Terminal cancer. As something inside me broke, I wallowed in the dread potential of my daughter’s death. When her diagnosis came two days later, that shattered part of me had retreated, unwilling to scuttle out into the light. It was the fear that chokes all parents made manifest in that half-lit hallway surrounded by lurking shelves of bleached flannel and antiseptic smells and machines humming and every three minutes a long, shrill beep.
O’Connor’s hard vision complicates grace. The Grandmother extolls prayer, chants Jesus’s name, recognizes the unity of The Misfit and her son, but as the Misfit wryly observes, her moment of grace comes too late for this life: “’She would of been a good woman…if it had been somebody there to shoot her every minute of her life.” By the end of the story, The Misfit acknowledges, “It’s no pleasure in life,” cementing his change.
On my daughter’s first day back to school in late October after six weeks off, we stood stoic in the lobby until her grade-four teacher approached. My daughter’s face pinked as she shyly turned into my side and dipped down her chin, her eyes glowing. My eyes watered at how still she held herself as other teachers came. It was as hard if not harder to let her go as it was on the first day of kindergarten. But she didn’t cling.
Aside from the nights when I stayed home with her sister, I’d sat with her through two months at the hospital. I’d witnessed how swiftly a health change could come on, the fever, the working at breathing, the chest pain, the flushed cheeks. I worried about a flare happening at school and nobody noticing. Perhaps my pain was atonement for the summer before her diagnosis when she ached and felt tired and I cajoled her into activities like swimming that she found excruciating. I tell myself I could have done more to make her comfortable. Though I took her often to Emergency and to the doctor, I tell myself I could have done more to find out what was wrong.
It took effort to walk out the school doors and leave her behind. It was the fragility and the attachment and the welling up of her return and what she’d endured and how she’d changed. As Ben Okri says, we are “living the stories we planted—knowingly or unknowingly—in ourselves. We live stories that either give our lives meaning or negate it with meaningless.” Writing about “A Good Man is Hard to Find” in the wake of my daughter’s Lupus diagnosis admits the story that makes the heart bigger and lets the light in. The story in which a random act can result in a moment of unexpected grace.
Image Credit: Pixabay.
Early in her novel Wise Blood, Flannery O’Connor describes protagonist Hazel Motes, leader of the Church without Christ, by the silhouette he casts on the sidewalk. “Haze’s shadow,” she writes, “was now behind him and now before him.” It’s a strange way to situate a character — skulking between his shadows — but it’s not unprecedented. In The Waste Land, T.S. Eliot’s narrator refers to “Your shadow at morning striding behind you/Or your shadow at evening rising to meet you.” Coincidence? Nobody can say for certain. But in the rare case of a critic linking O’Connor and Eliot, Sally Fitzgerald (O’Connor’s close friend) wrote that “it was Eliot and his Waste Land who provided for her the first impetus to write such a book as Wise Blood.”
Harold Bloom, the literary critic who thrives on making such connections, famously argued that great writers, burdened by what he called the “anxiety of influence,” subconsciously misread established literary giants to achieve originality. But in this case, O’Connor is not misreading Eliot. She’s answering him. The Waste Land delivers a darkly poetic proposition. Every line relentlessly reiterates the theme that, in the wake of World War One, hope had been leached from life. Existence, in the poem’s assessment, culminates in a word one rueful lover repeats in The Waste Land’s second section: “Nothing . . . Nothing. . . nothing . . .nothing . . .Nothing.”
O’Connor was a Catholic whose literary ambitions hewed to an active faith. For her, nothing could come from nothing. She embraced The Waste Land’s despair but refused to accept its emptiness. In her essay “The Church and the Fiction Writer,” she wrote, “I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe.” This belief — informed by a desire to observe from a Christian angle — compelled her to both absorb the meaningless in Eliot’sThe Waste Land while, at the same time, offering a response. Of Hazel Motes, she once wrote, “His search for a physical home mirrors his search for a spiritual one, and although he finds neither, it is the latter search which saves him from becoming a member of the wasteland and makes him worth 75,000 words.”
In both Wise Blood and The Violent Bear It Away, O’Connor — as Harold Bloom would expect one to — evokes Eliot’s wasteland by replicating its prominent themes. She transplants the desolate urban iconography of The Waste Land’s to the small rural enclaves of the American South. O’Connor’s southern landscape is the “upsidedown half of the world,” a sad and painful sprawl of land where “each weed that grew out of the gravel looked like a live green nerve.” At times her landscape seems on the verge of exploding into flames and, in least one instance, at the end of The Violent Bear it Away, does just that. But in the midst of this desolation and conflagration she confronts Eliot’s dried-up nothing with a flood of something. Decisively, if jarringly, she proposes a vision — albeit a strange vision (Eliot once said of O’Connor, “She has certainly an uncanny talent of high order but my nerves are just not strong enough to take much of a disturbance”) — of human redemption.
Eliot delivers the ruins. O’Connor preserves them, navigates them, and then, inspired by Catholicism, discovers in them an original form of grace.
Whatever anxiety O’Connor experienced over mimicking Eliot (probably not very much), she didn’t attempt to hide it. In O’Connor’s second (and final) novel, The Violent Bear It Away, the 14-year-old Francis Marion Tarwater receives from his aging uncle, with whom he lives in a countrified wasteland, careful instructions on how to bury his large dead body when he eventually keels over in their isolated abode. After digging what the uncle insisted had to be a proper hole (“I want it ten foot”), Tarwater was then, according to the uncle’s directions, instructed to “prop me with some bricks so I won’t roll into it and don’t let the dogs nudge me over the edge before it’s finished. You better pen up the dogs.” In The Waste Land’s single reference to burial, a soldier home from war in London sees a former comrade walking across London Bridge and asks, “That corpse you planted last year in your garden,/‘Has it begun to sprout? Will it bloom this year?” And then: “Oh keep the Dog far hence, that’s friend to man/Or with his nails he’ll dig it up again.”
In both instances, in both wastelands, dogs are banished from the graveside. They will not be set loose to complete Antony’s famous order, delivered in Act III, Scene I of William Shakespeare’s Julius Caesar, at Caesar’s funeral, to “let slip the dogs of war.” That act would miss the point in these mirrored wastelands because, as both Eliot and O’Connor suggest, whatever justice is to be attained is, alas, pointless. The body is interred. The play is over. Death is death. Dust is dust. The dogs must be locked away.
Perhaps the only prospect worse than death is, for both authors, eternal earthly life. It’s a prospect that both Eliot and O’Connor symbolize in the form of a shriveled, miniaturized body. The Waste Land opens with an epigraph that declares (in part): “Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere.” Translation: “Now I myself with my own eyes saw the Sybil of Cumae hanging in a jar.” According to myth, the Sybil of Cumae asked Apollo for eternal life but, in so doing, forgot to ask for eternal youth. Wish granted, the Sybil ages forever, shrinking to the point that she fits in a glass jar. The image is reliably referenced later in the poem as a symbol of existential hopelessness (“You ought to be ashamed, I said, to look so antique.”)
What worked for Eliot worked for O’Connor. In Wise Blood, Enoch Emery, the trickster sidekick whose friendship Haze Motes rejects, steals a mummified dwarf (displayed in a glass case) from a local museum and delivers it to Sabbath Lily Hawks, the nymph lover of Motes, in a paper sac. Enoch wants Motes, despite his bad attitude, to have the desiccated and shrunken mummy as a “new jesus” symbol for his Church Without Christ. Earlier in the novel, when Enoch first sees the mummy, he approaches it cautiously, after reading a sign on the wall that tells him “he was once as tall as you or me.” As with Eliot’s Sybil, the mummy has diminished in size over time. The scene ends when a mother walks into the museum with two boys, both of who approach the glass and peer at the blackened figure.
O’Connor, again in Wise Blood, practically completes Eliot’s scene for him. In Eliot’s epigraph (which inexplicably switches to Greek), two boys approach the Sybil in the jar (some think this was the inspiration for Sylvia Plath’s The Bell Jar), just as the boys do in O’Connor’s museum. They ask her, “What do you want?” and the Sybil replies, in true Eliot fashion, “I want to die.” O’Connor grants the Sybil her wish when, after Sabbath showed Motes the mummified new Jesus, he “snatched the shriveled body and threw it against the wall.” Upon impact, “the head popped and the trash inside sprayed in a little cloud of dust.”
Few words are more evocative of The Waste Land than that carefully considered word: dust (a mote of dust). If there is a line that best captures the depth of the poem’s existential terror it comes when the narrator promises, “I will show you fear in a handful of dust” — or, as O’Connor suggests, maybe in the shattered head of a purloined dwarf.
O’Connor’s novels also follow Eliot’s lead on the theme of blindness. The inability to see, partially or completely, pervades The Waste Land. The “hyacinth girl,” from section one, describes a moment of potential romantic happiness when the girl notes of her possible lover, “we came back, late, from the Hyacinth garden,/Your arms full and your hair wet.” It’s one of the poem’s only moments of hope. But it’s immediately dashed when the hyacinth girl recalls how, quite suddenly, “I could not speak, and my eyes failed, I was neither/Living nor dead, and I knew nothing.” Later in the same section, the prophetess “Madame Sosostris,” consults her “wicked pack of cards” — is there any hope in there? — and finds a Phoenician sailor with “pearls that were his eyes” as well as a “one-eyed merchant.” The merchant on the tarot card carries something possibly significant on his back, but it turns out to be something for which Madame Sosotris must confess, “I am forbidden to see.” Some prophetess — she’s without foresight.
Sight, or lack thereof, is even more central to inner mechanics of Wise Blood. Hazel Motes, who can see normally when we meet him, eventually blinds himself in an act of spiritual rage. Motes’s antagonist, the preacher Asa Hawks, also sees normally, but fakes blindness as a ruse to foster donations. When naming her characters, O’Connor must have had in mind “seeing like a hawk” and the biblical “why beholdest thou the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye?” (And maybe even King Lear.) Either way, the theme of compromised sight is even in peripheral scenes. When Motes and Sabbath encounter a caged black bear at Tennessee gas station (don’t laugh, I once saw a caged ostrich an east-Texas gas station), we learn that “the bear had only one eye.” Enoch Emery’s landlady was “almost totally blind but moved about by an acute sense of smell.” Sabbath Lily says to her father about Haze, “I like his eyes. They don’t seem to see what he’s looking at, but they keep on looking.”
The similarities continue in other areas as well. They appear when Tarwater is raped in The Violent Bear it Away, and in Tarwater’s sadistic baptism (which results in drowning the feeble initiate). But, in the end, O’Connor isn’t content with simply mimicking Eliot’s hellscape of despair. Instead, she yanks us in the opposite direction — from a ghastly landscape to a strange paradise of redemption. And she does so in a way that, indeed, made her a true original — at once devout, humorous, and spiritual. It is in that last description of Motes’s eyes — “but they keep on looking” — that O’Connor’s faith intervenes, her Catholicism asks to be honored, and she lays an eccentric basis for hope.
Eliot ends his poem with a spiritual assessment of a wasted land that’s so devoid of life (specifically water) that it even dries out any prospect of Christ’s resurrection and, by extension, the rest of humanity. “After the agony in stony places/The shouting and the crying/Prison and palace and reverberation/Of thunder of spring over distant mountains/He who was living is now dead/We who are living are now dying.” To be sure, Motes doesn’t escape death. He dies in the back seat of a cop car. But before his death, after his blindness, as his spiritual vision intensifies towards something, he takes to staging his own crucifixion (wrapping himself in barbed wire and filling his shoes with rocks), and attempts his own conversion experience through a painful form of redemption.
The book ends with Motes’s corpse propped in a chair at the home of his landlady. Her name — evoking the water that never quenched The Waste Land — is Mrs. Flood, and her final observation — that she thinks (with her eyes shut) she sees “a pin point of light” in his dead eye sockets — is the twinkle of hope that you can search for throughout The Waste Land and never find. It is O’Connor’s way of answering, and escaping, The Waste Land. It is her way of resurrecting Motes, and ensuring that his quest for meaning never loses significance.
Image Credit: Wikipedia.
On Thursday, The New York Times published an op-ed defense of prolific writers by one of the modern era’s most prolific writers himself, Stephen King. It was a timely bit of writing for me, a non-prolific writer with a first book deal in the works, for whom the question of appropriate literary output is often debated.
In King’s take, which is certainly worth a read, he basically argues two things. One, that there are great works buried in the overwhelming bibliographies of some writers. (i.e. “Alexandre Dumas wrote The Count of Monte Cristo and The Three Musketeers—and some 250 other novels.”) And two, that for some authors, like him and Joyce Carol Oates, “prolificacy is sometimes inevitable.” He describes the crazy-making clamor of the voices in his head since his youth, all the stories crying out to be written.
The potential for those unwritten works is an interesting point of entry. Like most everyone, I’ve always found a particular romance in the notion of lost works of literature. There are so many different kinds, aside from those that never manage to be written. There are the truly lost, like William Shakespeare’s missing play The History of Cardenio. The nearly lost, like the poems of Emily Dickinson. There are the mostly-lost works that could have died with their authors but were published anyway, like Vladimir Nabakov’s The Original of Laura or David Foster Wallace’s The Pale King.
But lately I’ve been struck by the notion that there might be no books more lost than those buried in the overwhelming bibliographies of authors who have simply published too damn much.
What’s your opinion, for instance, of the William Faulkner novel Pylon? How about Joyce Carol Oates’s Solstice? Larry McMurtry’s incredible doorstop of a novel Moving On? Or the only book in which Philip Roth wrote of a female protagonist, When She Was Good? Any non-John Updike scholars out there recall A Month of Sundays?
No? Well, who can blame you? Faulkner wrote 19 novels. You could hardly be expected to read them all. Larry McMurtry has written over 45 books. Roth, nearly 30 novels and novellas. Updike, more than 20 novels and almost as many short story collections.
Joyce Carol Oates, as King points out is “the author of more than 50 novels (not counting the 11 written under the pseudonyms Rosamond Smith and Lauren Kelly).” But that’s just the novels. I stopped counting the short story collections listed on her Wikipedia bibliography entry after 20—which just brought me to the early 1990s. Oh, and that entry is listed as “incomplete.” Wikipedia would be grateful for your help in expanding it, though it’s unlikely you could do so faster than Oates herself.
Seeing a bibliography like that I can only wonder, isn’t it possible—even likely, perhaps—that Oates’s best novel is some forgotten, out-of-print book she wrote in, say, 1982, maybe one that hasn’t even landed on that incomplete bibliography yet? If so, most of us will never know it, because her massive output has built a body so forbidding that it deprives us of the experience of her books.
This kind of output isn’t limited to the literary scene, as King’s piece clearly illustrates. In fact, things only get really wild when you start talking about genre. There’s King himself, of course, who is at around 70 books all told. Agatha Christie who, as he points out, published 91 novels. Isaac Asimov, who, King says “hammered out more than 500 books and revolutionized science fiction.” James Patterson—also name-checked by King—has produced (mostly co-authored) nearly 150 books. He released about 15 in 2014 alone. And where would Modern Culture be without Nora Roberts, who has written more than 200 romance novels?
Maybe King is right that this kind of output is a good thing. But something about it still makes me uneasy. Maybe it’s because, upon discovering a book I love, I invariably feel compelled to track down and devour everything else by the same author.
With some it’s simple. Flannery O’Connor’s entire bibliography basically consists of four books, A Good Man is Hard to Find, Wise Blood, The Violent Bear it Away, and Everything That Rises Must Converge. Then, if you’re really hungry, there are her letters, interviews, whatever remains of her collected “uncollected” marginalia, and, most recently, a prayer journal. Finish those, and you’ve done it. You know Flannery all the way from “The Geranium” to “Judgment Day,” and whatever else she thought, wondered, or murmured to the heavens. There’s something wonderful about having seen all that an author has to offer, following the progression of her skill, obsessions, the recurring tropes and themes, the trails of subconscious leakage.
The problem comes when I happen upon an author, like one of the above—King included—whose body of work defies, by its sheer heft, that kind of close study without lavishing a truly abnormal amount of time and devotion upon it.
It’s not as if reading a novel is the same as watching a movie or viewing a piece of art. After all, one could see all of Vincent Van Gogh’s 860 oil paintings in a few days if they were physically available. And a cursory appreciation of Johannes Vermeer’s 34 mightn’t take longer than an hour. Stanley Kubrick’s filmography amounts to 13 feature films I could watch in a few of days if I felt like a binge. But it’s not so simple for writers, unless I want this to become my own personal Year of John Updike, Two Years of Philip Roth, or Decade of Joyce Carol Oates.
King concludes his op-ed by saying that he’s glad Ms. Oates continues to write new books “because,” he says, “I want to read them.” I wonder if he really has. If anyone has read them all. Or truly does anxiously await the next one’s arrival. Whoever has or does is in possession of far more free time than I. If we were immortal, if our time on the planet was infinite, I’m sure I’d feel differently, but as King wisely points out in his own piece, “life is short.”
And let’s say I wasn’t an obsessive completionist. When considering huge bodies of work, there’s still the uncertainty about where to enter and where to go next once you’ve found a way in. If I wish to dig into the oeuvre of Oates, McMurtry, Updike, Roth, or even James Patterson, I’m forced to either choose at random or rely on others to tell me which work is most important and worthy. Which might be fine if the people on whom I were relying had read all of the work themselves, but of course they haven’t—with the exception perhaps of King’s devoted fan base.
I experienced a similar anxiety many years ago at a record store. I had gone there determined to finally delve into Frank Zappa’s music. Unfortunately, it was quite a good record store, and they stocked most of his 100 albums. Finally, after trying to make a decision based on the album art, I gave up and decided to get into punk instead, a lot of short-lived bands that self-destructed after just an album or two, tidy discographies I could learn by heart. Of course there were probably some truly great albums buried in Zappa’s discography, as in the Grateful Dead’s 144-plus record output. But I’ll never know. The volume of work becomes a barricade, a wall that one cannot reasonably scale even if one wishes to.
So it is with novels. It’s true that telling Oates, et al., not to write so much might deprive us of great works, but the net effect is the same either way. Each new book is, for me anyway, another lost in the flood.
Image Credit: Flickr/library_mistress.
Picked up by a deputy police officer, a man claiming to get lost ghost-hunting in the woods was actually cooking meth. A man who won a competition to party with the Breaking Bad cast and crew was busted for manufacturing narcotics. A Hialeh, Florida, official pulled over by the cops secreted a meth pipe in his rectum.
Even forgoing the bleakest cases, meth fact is stranger than meth fiction. It’s fair to ask why a young writer would take on a subject when the finished novel will be less astonishing than the day’s headlines. (Granted, if that was a requisite, all fiction would go unwritten.) Some plucky writers, I assume, hope their writing acquires by association some of the drug’s features: highly addictive, vivid extra-sensory illusions, the intimations of ruin and transcendence.
The story of a thirteen-year-old heir to a family drug operation, Katherine Faw Morris’s Young God takes its title from a song by Swans. When they recorded “Young God,” Swans was still in its most harrowing, dissonant period before Michael Gira made slightly less harrowing, less dissonant music later in that decade. The song takes the perspective of Ed Gein, the serial-killer inspiration for the Texas Chainsaw Massacre and Psycho movies. The macabre lyrics, as bellowed by frontman Gira, are all jagged edge:
I don’t know where I am
I’m dancing in my corpse
I don’t remember anything
I’m wearing your flesh
Your flesh is my face
I love your face
Though Morris’s writing shares some of that song’s dark, cryptic tone, the novel has a conventional five-act structure. In spare, piquant prose, we watch as the protagonist Nikki flees a Department of Social Services home and seeks out her father, Coy Hawkins. Nikki might not have courage, but, as Lorrie Moore once described a very different character, she has “bitterness and impulsiveness, which could look like the same thing.”
The first scene begins at a perch overhanging a swimming hole (formatting is consistent with the book):
This is the jumping off place. everywhere else is the wrong side. Nikki bends at the knees and moves her feet one by one. With a lunge she grabs the head of the shrub. Now the river flings its white froth at her. The falls roar in her ears.
“i’ll go first.”
“No,” Nikki says.
“Just walk down on the path,” Wesley says.
“Nikki,” Mama says.
“God,” Nikki says.
Since she is going to die she would like to be remembered, spoken of in the backs of cars in words that shudder. Nikki pictures this. she turns the shrub loose and stands up.
she slips a step and then jumps.
Years after her mother commits suicide (in a mordant parallel, by leaping to her death) and a stay in DSS, she decides to return to her father’s house. The father, Coy Hawkins, is an appealingly grotesque villain, formerly “the biggest coke dealer in the county,” now a fading specter. The narrator says, “iN her MoUth his name is shiny and bitter like a licked coin.”
Tragically, she find her father’s expressions of sympathy as inexplicable and unfamiliar as his paroxysms of violence. In her conversations with her father, she is both naïve and clinical:
“is it BeCaUse oF the eCoNoMY?”
“That you’re a pimp?”
Coy hawkins laughs with his head thrown back.
“What?” Nikki says.
she laughs, too. Though she doesn’t think it’s funny.
“You used to be the biggest coke dealer in the county.”
Coy hawkins rests his elbow on the bench seat. He looks at her.
“You were,” she says.
“everybody’s on pills now,” Coy hawkins says.
“This is my new thing. This is the future.”
Nikki looks out at the motel parking lot. her teeth are grinding.
As in Winter’s Bone, the devastation caused by the meth trade in this rural North Carolina region has unsettled all the usual social structures that might constrain the impulses of a smart, ruthless teenage girl. Either novel could be mistaken for professing a kind of feminism, but I would prefer to call it selective misanthropy.
Each chapter is a fresh descent. Nikki endures the rape and murder of her friend, the mutilation of a rival drug dealer, and a dangerous stick-up. She becomes aware of how he has made her vulnerability a weapon:
“i don’t need you,” he says. […]
all NiGht she sits oN the CoUCh in the dark with her mind racing.
he does need her. He couldn’t have gotten into that apartment without her, for one thing.
she pictures the black girls, with their mouths wide open, but she doesn’t hear them scream.
Watching her father’s casual brutality, of course, Nikki becomes more jaundiced about life generally, and more cynical about family ties specifically. Violence is something she masters, but Morris isn’t particularly interested in a sociology of the drug trade or criminal pathology. Instead, Young God unfolds unselfconciously, as character study.
One of the strengths of the novel is how Nikki’s emotional disfigurement is subtle and teased out patiently over the course of the novel so that, until the final pages, neither the reader nor Nikki herself fully grasp what heinous acts she is capable of doing in order to restore her family’s status.
The unconventional capitalization and grammars, as in Sapphire’s Push, is meant to convey the main character’s lack of formal education, though I found it mostly distracting. In her first novel, Morris also allows a few quirks to clutter the prose. For instance, “muscle,” “chin,” and “shoulder” are all used as verbs. Those choices might be naturalistic, but I thought they were fussy diversions from a taut, concise plot.
What “young god”? Nikki does possess the sort of inarticulate, elemental impulses (rage, pity, hatred) that used to drive the gods of ancient Greek mythology and the Old Testament. It’s clear that her godliness is some mix of her ability to take life and her Nietschzean amorality. Paradoxically, her omnipotence is representative of the narrowness of her worldview, like the narrator of Ted Hughes’s poem, “Hawk Roosting:”
Now I hold Creation in my foot
Or fly up, and revolve it all slowly —
I kill where I please because it is all mine.
There is no sophistry in my body.
Why a “young god”? Throughout his career, Kenneth Burke pointed out the perversity of metaphor. In the essay, “Why Satire,” he quoted the phrase, “Necessity is the mother of invention.” Burke suggests that this aphorism has discomfiting implications for our perspective on “need” and “motherhood.”
If a meth-dealing teenager is a “young god,” how radically changed is Morris’s secular world from O’Connor’s “Christ-haunted” South. The central metaphor of Morris’s novel — Nikki as god — is a provocation, sure, and one that indicates a rift in Southern literature. Though their works diverged widely in subject matter and method, Faulkner, O’Connor, and McCullers wrote novels and short stories in riot against the modern assumption of the rational, knowable self, and that self’s ability to master history and nature. Their skepticism about modernity has been so widely embraced – by thinkers who have no interest in Sutpen genealogy, and those who might think of the Southern Agrarians as little more than a historical curiosity — that it seems de rigueur. Perhaps the concerns of O’Connor, et al, were prescient, and prescience is obsolescence in a flattering alias.
The novels of Daniel Woodrell, William Gay, and Morris have a much narrower philosophical scope. Young God is a strong entry in the tradition of the Southern Gothic Novel (redneck noir subcategory), but, while reading it and after watching the HBO series True Detective, I began to wonder if the genre still has any explanatory power for contemporary America. Stripped of its context and without invigorating it with new significance, that familiar mood has become an affectation. The style is still there, nestled between the derelict churches and the epic violence, but without the expansive critique that ran like a quicksilver thread through Wise Blood and Absalom! Absalom!
Late in Young God, the narrator repeats her father’s words: “This is the future.” Then, Nikki disposes of a body by hacking it into pieces. I suspect the Southern Gothic Novel (like many of the characters that have populated it) will have an even less tranquil afterlife.
William Giraldi spent more than half of his 2008 review (pdf) of Cary Holladay’s A Fight in the Doctor’s Office considering the etymology of “novella,” identifying the history and characteristics of the form, and suggesting essential writers. He claims that the demands of character development are one way to separate novellas from novels, noting that Gustave Aschenbach in Thomas Mann’s Death in Venice does not require the 800 pages necessary for the titular character of Tom Jones by Henry Fielding. Giraldi’s introductory thoughts seem like a rather long preface to evaluate a work of new fiction under 150 pages. Such an observation is not meant as criticism. To write about novellas is to engage in a form of literary apologia. Giraldi’s approach is the norm. Most reviews of novellas begin with similar elements: the writer’s arbitrary word count parameter, why “novella” sounds more diminutive than “short novel,” and a lament that publishers are unwilling to support the form.
This essay is not such an apology. I am tired of threnodies. Writers of novellas have nothing to be sorry about. Novellas deserve critical attention as individual, not adjacent, works. We might begin by mining appreciative notes rather than simply cataloging criticisms. Tucked between Giraldi’s prefatory critical observations in “The Novella’s Long Life” are notes of admiration: “an expert novella combines the best of a short story with the best of a novel, the dynamic thighs of a sprinter with the long-distance lungs of a mountaineer.” He continues a critical tradition whose modern genesis might have been the novella-loving 1970s, when even novels were short; think The Sporting Club and Ninety-Two in the Shade by Thomas McGuane, or A Good Day to Die by Jim Harrison. In a 1972 essay he would later develop into a book, Robert J. Clements considers the oral tradition behind the novella form as helping him “define its length as long enough for a dry split birch log to be consumed by a blazing bivouac fire.” That image was still popping in 1977, when Graham Good, in the journal NOVEL: A Forum on Fiction, almost elevates the novella beyond the novel, noting that the shorter work often focuses on “simple natural or preternatural exigencies: apparitions, cataclysms like great storms or earthquakes, and individual declines or deaths.” Of course novels also contain deaths, but it’s the speed and tension that matters: the “novella is a closed form whose end is latent in its beginning: there is usually some initial indication that the end is known, and this enhances the narrative art of holding in suspense what it is.”
Fast-forward to very recent memory. At The Daily Beast in 2010, Taylor Antrim considers the focus on novellas by presses such as Melville House and New Directions, and the publication of the “wispy thin” Point Omega by Don DeLillo and Walks With Men by Ann Beattie, as proving that the form is in “pretty healthy shape.” Citing works as diverse as “The Dead” by James Joyce and Shoplifting from American Apparel by Tao Lin, Antrim claims that “novellas are often structurally syncopated…their effect tends to be not instantaneous but cumulative.”
In “The Three-Day Weekend Plan,” from the 2011 anthology The Late American Novel, John Brandon offers a tongue-in-cheek suggestion: hoard your novella. Best to “downplay the novella in casual conversation,” and instead keep the form to “ourselves, the adults.” The novella is a personal document, something that will “let us find out, in the writing, how we truly write.” Work to keep in a closet or desk drawer, “away from any and all publishing apparatus.”
In “Notes on the Novella,” published that same year in Southwest Review, Tony Whedon waxes lyric about the form: “novellas are not so much told as dreamed aloud; they inhabit a realm of half-shapes and shadowy implication.” Historically, they “[thrive] on travel and adventure and [are] often set in exotic climes.” Whedon stresses the need for control, and uses language that mimics John Gardner’s oft-quoted definition of the form: all “subplots need subordinating to their main storyline.” That control, in the formal sense, enables time and tense shifts. That temporal compression increases tension and pacing, resulting in a “swirly and gunky” effect. Novellas are “implosive, impacted, rather than explosive and expansive.” I read this as novellas refract rather than reflect. They are something shaken, but not spilled.
“The Return of the Novella, the Original #Longread” by Jon Fassler appeared last year at The Atlantic. Fassler laments that novellas are tucked into short story collections as an afterward, or packaged with other novellas to be “sold as a curiosity.” Although Fassler’s piece is primarily a profile of Melville House’s success with re-issuing older works in their “Art of the Novella” series, he concludes that “a renaissance in the mid-length non-fiction” form, the “journalistic equivalent of the novella,” is enabled because of electronic editions.
Upon the release of his 2012 novel Sweet Tooth, in which a character publishes a novella, Ian McEwan quipped a series of imagined critical reactions to the short form in The New Yorker: “Perhaps you don’t have the necessary creative juice. Isn’t the print rather large, aren’t the lines too widely spaced? Perhaps you’re trying to pass off inadequate goods and fool a trusting public.” McEwan confidently calls the novella the “perfect form of prose fiction,” citing a “long and glorious” lineage: Mann, James, Kafka, Conrad, Camus, Voltaire, Tolstoy, Joyce, Solzhenitsyn, Orwell, Steinbeck, Pynchon, Melville, Lawrence, and Munro.
A few weeks earlier, at that year’s Cheltenham Festival, McEwan claimed that he “would die happy” if he “could write the perfect novella.” Although he worries the form is unseemly for publishers and critics, readers love that they could “hold the whole thing structurally in your mind at once.” Inverting the typical criticism, McEwan claims that the “novel is too capacious, inclusive, unruly, and personal for perfection. Too long, sometimes too much like life.” In sarcastic response, Toby Clements at The Telegraph thinks that McEwan is “lucky to be allowed to publish novellas.” Clements quotes Philip Rahv, who says that the novella form “demands compositional economy, homogeneity of conception, concentration in the analysis of character, and strict aesthetic control.” Returning to McEwan, Clements considers the foolishness of word and page count definitions. At 166 pages, On Chesil Beach was considered a novella by McEwan, but a short novel by the Booker prize judges. Giraldi notes that “Adultery” by Andre Dubus is identified as a short story in one collection, and a novella in another. I would add Wise Blood by Flannery O’Connor to that list. I have defaulted to italics appropriate for a short novel, but many consider the work a novella. Confusion, idiosyncrasy, beauty: welcome to the world of the novella.
While charting the lineage of novella discussions is worthwhile, as a writer of the form I am most interested in application. Perhaps the most writer-friendly treatment in recent memory is “Revaluing the Novella” by Kyle Semmel from the December 2011 issue of The Writer’s Chronicle. Rather than formal comparison, Semmel focuses on what successful novellas contain. Like Giraldi and Whedon, Semmel applies John Gardner’s definition of a novella, as explicated in The Art of Fiction. He supports Gardner’s claim that novellas move through a series of small climaxes. Semmel rightly stresses the “series” element of the definition. The mode of the novella is athletic, forward-leaning.
Gardner splits his definition to contain three modes of novellas: single stream, non-continuous stream, and pointillist. The nomenclature might be idiosyncratic, but Gardner’s criticism was always homegrown. Semmel adds to Gardner’s discussion: often novellas contain “resolution; there is closure.” He admits that the point might sound obvious, but it stresses that novellas are not meant to be top-heavy or flimsy. A necessary point to make, as even Antrim, an admirer of novellas, claims that the form “has ambivalence built into its DNA…[it] serves up irresolute endings.”
Semmel considers a range of examples, from “Voices from the Moon” by Andre Dubus to Black Water by Joyce Carol Oates. He also considers “In the Heart of the Heart of the Country” by William H. Gass, but quickly dismisses the work as a “gangly prose poem” of more interest to “literary scholars” than readers. My literary heart sunk. I have loved Gass’s longer novella, “The Pedersen Kid,” ever since it was recommended to me by novelist Tom Bailey, while I was an undergraduate at Susquehanna University. Bailey thought novellas were defined by time—a season or a weekend—and Gass’s piece was offered as an example.
Gardner devotes several sentences to that longer-titled, shorter work, but spends pages explaining why “The Pedersen Kid” is “a more or less perfect example of the [novella] form.” It is important to note that Gardner stressed not only the stream of climaxes, but that they were “increasingly intense.” Yet what interests me most is Gardner’s further qualification that these climaxes are “symbolic and ritualistic.”
It should not be surprising that Gardner loves this novella: Gardner published it in 1961 in his magazine, MSS. Gass’s novella nabbed the magazine thirty charges of obscenity, one of which, co-editor LM Rosenberg shares, was “‘nape,’ as in neck.” Federal fines caused the magazine to fold after three issues, but Gardner never stopped appreciating the novella. His summary of the plot: “In some desolate, rural landscape . . . in the dead of winter, a neighbor’s child, the Pedersen kid, arrives and is discovered almost frozen to death near Jorge’s father’s barn; when he’s brought in and revived, he tells of the murderer at his house, a man with yellow gloves; Big Hans and Pa decide to go there, taking young Jorge; when they get there, Jorge, making a dash from the barn to the house, hears shots; Big Hans and Pa are killed, apparently — Jorge is not sure — and Jorge slips inside the house and down cellar, where at the end of the novella he is still waiting.”
I reread the novella each winter. I also revisit Gass’s preface to the collection, which explains the composition of “The Pedersen Kid.” He “began by telling a story to entertain a toothache.” Such a story must contain “lots of incident, some excitement, much menace.” After weeks of writing he “began to erase the plot to make a fiction of it.” He “tried to formulate a set of requirements for the story as clear and rigorous as those of the sonnet.” He cast away a focus on theme for devotion to the “necessity for continuous revision, so that each word would seem simply the first paragraph rewritten, swollen with sometimes years of scrutiny around that initial verbal wound.”
“The Pedersen Kid” was planned end-first, with all action “subordinated” toward “evil as a visitation — sudden, mysterious, violent, inexplicable.” It was “an end I could aim at. Like death.” And yet, also like death, “I did not know how I would face it.” He imagined the book as a work of visual art: “the physical representation must be spare and staccato; the mental representation must be flowing and a bit repetitious; the dialogue realistic but musical. A ritual effect is needed. It falls, I think, into three parts, each part dividing itself into three.” Three also correlates to the story’s main characters — Jorge, Big Hans, and Pa — who enter the blizzard to find the Pedersen’s abandoned home. Although Whedon does not consider Gass’s work in his essay, it fits one of his theses that symbols in novellas “present themselves orchestrally in the form of leitmotifs that dovetail with disparate time sequences to create a strong over-arching moral theme: hence the novella’s connection with allegory.”
Gass’s novella contains extended spaces between words, which John Madera calls “caesuras,” and Samuel Delany thinks are “actual suspensions of sound.” Gass says that he “wanted pages that were mostly white. Snow.” He practiced typographical and pictorial experimentation in another novella, Willie Masters’ Lonesome Wife. The novella form is short enough to be both art and artifice. Experimentation does not become exhausting.
The novella is ritual: for Gardner, for Gass, for Whedon, for me, but for others?
Despite claims about the paucity of options, writers continue to draft and publish novellas in literary magazines and as standalone books. Big Fiction, At Length, A Public Space, PANK, New England Review, Seattle Review, Glimmer Train, and The Long Story have published novella-length work; The Missouri Review included one of my favorites, “Bearskin” by James A. McLaughlin. Ploughshares Solos releases novellas as single e-books. Miami University Press and Quarterly West have revived their novella contests. Iron Horse Literary Review holds an annual chapbook contest that publishes a novella-length work during select years. Texas Review Press has its own annual contest, the Clay Reynolds Novella Prize. Readers and writers of speculative fiction continue to embrace the novella form. Consider Ted Chieng, Jason Sanford, and Kij Johnson; not to mention the nominees for the annual Hugo Award for Best Novella. The most recent winner was Brandon Sanderson, for The Emperor’s Soul.
Deena Drewis founded Nouvella, a press devoted solely to novellas, in 2011. Drewis initially considered works as low as 10,000 words, but became worried that some readers would consider such standalone books as “long short [stories].” She admits that defining a novella is difficult, and instead uses the work of Andre Dubus, Jim Harrison, and Alice Munro as formal affirmations.
At 4 x 6 inches, Nouvella books can feel too bulky beyond 40,000 words, so form requires practical function. Her longest release, The Sensualist by Daniel Torday, “occupies more temporal space” than her other books. Torday told Drewis the work had originally been a novel, but she received the manuscript “pared down to its working limbs. It doesn’t feel compacted the way a short story is often a work of compression, but it also doesn’t take the liberty of meandering, like a novel sometimes does.”
Nouvella’s stated mission is to “find writers that we believe have a bright and dedicated future in front of them, and who have not yet signed with a major publisher.” She finds that the form is “a good point of entry for readers to discover emerging authors.” If readers enjoy a short story from a new writer, they need to do the legwork to find other stories, “or wait until a collection comes out, but that requires a good deal of dedication and perseverance.” Instead, a novella “allows you to spend a little more time inside the author’s head, and because it’s a stand-alone book, it demands more attention from the reader. It’s also not a novel, which for readers, can seem like a big commitment.”
Drewis is prescient: Daniel Torday’s debut novel, The Last Flight of Poxl West, will be published in 2015 by St. Martin’s Press. Such evolution is not exclusive to Nouvella. Andrew Ervin’s Extraordinary Renditions, a collection of three novellas from Coffee House Press, preceded his forthcoming debut novel, Burning Down George Orwell’s House. Mark Doten, who acquired Ervin’s title for Soho Press, notes that “having a strong favorable opinion” of Ervin’s shorter work “was certainly a factor [but not the only one]…in that book going to the top of my reading pile.”
Of course writers are not simply drawn to the novella form for its exposure opportunities. Tim Horvath has always written fiction “on the long side…[before he] knew a thing about word counts and literary journals and what they were looking for.” “Bridge Poses,” his 9,000 word story, was published in New South, yet he was unable to publish another, longer work, Circulation, in literary magazines. An editor at AGNI, while encouraging, “warned that it would be difficult to publish in a journal because of its length.” Bradford Morrow, the editor of Conjunctions, wrote some paragraphs in support of the work, and that convinced Horvath to remain with the piece. Sunnyoutside Press ultimately released the novella as a book, and Horvath appreciated how the story’s manageable length meant that the work’s “cartographic and library obsessions” could be “echo[ed] throughout the design elements of the book.”
Horvath is drawn to “stories that feel as though they encompass multitudes, that take their sweet time getting going, that have a leisurely confidence in themselves, that manage nonetheless to feel urgent, their scale necessary.” That macro approach can be compared with Peter Markus, whose novella collection, The Fish and the Not Fish, is forthcoming from Dzanc Books: “every word in this new collection is monosyllabic, [and] you would maybe think that such limitation would limit such things as the length of the piece, how much can and can’t be done, how long such a project might be sustained. The interesting thing here is that the restriction worked the other way. The river flowed up the mountain, so to speak.” Markus has always been interested in “short novels or long stories” like Hemingway’s The Old Man and the Sea, “The Pedersen Kid,” Faulkner’s “The Bear,” Conrad’s Heart of Darkness, Kerouac’s Visions of Gerard, and the novellas of Jim Harrison.
The novella form’s length afforded Horvath and Markus a particular sense of control over structure and presentation. The same approach might be applied to The Mimic’s Own Voice by Tom Williams, which he viewed as a “parody of an academic essay.” After he published a story in Main Street Rag, the journal’s publisher, M. Scott Douglass, approached Williams about being a part of the press’s new novella series. The form matched the writer: Williams wonders who would not appreciate “fiction that equally borrows the short story’s precision and the novel’s potency.” Williams uses the same word as Gardner — “perfection” — to describe the unique tightness of novellas, citing his list of favorites: Cataclysm Baby by Matt Bell, Nothing in the World by Roy Kesey, Honda by Jessica Treat, Seize the Day by Saul Bellow, Sula by Toni Morrison, and Goodbye Columbus by Philip Roth.
My own forthcoming novella, This Darksome Burn, began as an experimental, long story; early readers thought it a one-act play. I expanded the manuscript to a novel, reaching 300 pages, but was unsatisfied. Subplots upon subplots had blurred the central narrative. I started-over a year later. I turned the manuscript into a pitch, treatment, and finally a film script. Thought was subverted to action. Everything existed on the page. The script became a novella, and Erin Knowles McKnight, my editor and publisher at Queen’s Ferry Press, suggested I switch to present tense, which allowed me to increase the story’s immediacy. My dark story about an overprotective father in the shadow of the Siskiyou Mountains had found its form: a novella. I had found my form: I placed a novella about opium traffickers and atomic bomb scientists in storySouth, and another novella about a defrocked priest is coming from CCM Press in 2015.
I have practical and ritual reasons for being drawn to novellas. I am the father of five-month-old twin girls, and my writing is done in bursts, late at night. I spend my days living—preparing bottles, changing diapers, writing reviews, teaching, having lunch duty in my high school’s cafeteria, mowing the lawn, and watching my girls grow—but the cadences of story remain like a faint metronome. My old office will become a playroom for the twins, so I have migrated to a smaller room downstairs, the walls lined with books, and, proper to my Italian Catholic sensibility, a cross above the doorframe. I close the door, and in a small space, within a small page amount, I try to write stories that stretch their invisible seams. I love novellas. That doesn’t mean I won’t attempt a novel, or short stories, or essays, or poems. But my heart is set on that form that feels both mysterious and manageable. No apologies needed for that.
The first half of 2013 delighted us with new books by the likes of George Saunders, Karen Russell, and Colum McCann, among many others. And if the last six months had many delights on offer for book lovers, the second half of the year can only be described as an invitation to gluttony. In the next six months, you’ll see new books by Jhumpa Lahiri, Margaret Atwood, Donna Tartt, Marisha Pessl, Norman Rush, Jonathan Lethem, and none other than Thomas Pynchon. And beyond those headliners there are many other tantalizing titles in the wings, including some from overseas and others from intriguing newcomers.
The list that follows isn’t exhaustive – no book preview could be – but, at 9,000 words strong and encompassing 86 titles, this is the only second-half 2013 book preview you will ever need. Scroll down and get started.
Visitation Street by Ivy Pochoda: Crime writer Dennis Lehane chose Pochoda’s lyrical and atmospheric second novel for his eponymous imprint at Ecco/Harper, calling it “gritty and magical.” Pitched as a literary thriller about the diverse inhabitants of Red Hook, Brooklyn, Visitation Street has already received starred reviews from Publisher’s Weekly, Kirkus Reviews, and Library Journal. Lionel Shriver says, “I loved it,” and Deborah Harkness calls it “marvelous.” (Edan)
Love, Dishonor, Marry, Die, Cherish, Perish by David Rakoff: Rakoff was the author of three books of essays, the winner of the Thurber Prize for American Humor, and a beloved regular on This American Life who died last year shortly after finishing this book. A novel written entirely in verse (a form in which he was masterful, as evidenced here), its characters range across the 20th century, each connected to the next by an act of generosity or cruelty. (Janet)
The Love Affairs of Nathaniel P. by Adelle Waldman: Waldman recently weighed in for us on the centuries-old Richardson vs. Fielding debate. Now, in her first novel, she expertly plays the former’s psychological penetration off the latter’s civic vision. The titular Nathaniel, one of Brooklyn’s sad young literary men, seeks to navigate between his public ambitions and his private compulsions in a series of romantic encounters. Those without 718 area codes shouldn’t let the milieu scare them off; questions of whether Nate can heed the difficult imperatives of the conscience—and of how Waldman will pull off a whole book from the man’s point of view—keep the pages turning, while generating volumes of quotable insight, in the manner of The Marriage Plot. (Garth)
Fin & Lady by Cathleen Schine: A country mouse moves to the city in Cathleen Schine’s ninth novel. The mouse is Fin, an orphaned eleven-year old boy, and the city is Greenwich Village in the 1960s. Under the guardianship of his glamorous half-sister, Lady, Fin gets to know both the city and his wild sister, and encounters situations that are a far cry from his Connecticut dairy farm upbringing. As with many of Schine’s previous novels, Fin & Lady explores changing definitions of family. (Hannah)
My Education by Susan Choi: Reflect upon your sordid graduate school days with a novel of the perverse master-student relationship and adulterous sex triangle. Professor Brodeur is evidently the kind of man whose name is scrawled on restroom walls by vengeful English majors—rather than end up in the sack with him, Choi’s protagonist Regina instead starts up an affair with his wife. Later in the novel and in time, Regina reflects on this period in her life and the changes wrought by the intervening 15 years. Choi was a Pulitzer Prize finalist for her second novel, American Woman. (Lydia)
Five Star Billionaire by Tash Aw: The third novel from the winner of the 2005 Whitbread First Novel Award follows the lives and business ventures of five characters in Shanghai, each representing various—and at times dichotomous—social strata. There’s Phoebe, the poor and unsophisticated migrant worker from Malaysia; and there’s Yinghui, the rich and ambitious businesswoman. There’s Gary, the waylaid pop star; and there’s Justin, the scion of a wealthy real estate family. Lastly there’s Walter, the eponymous billionaire, who meddles behind the scenes with the lives of almost everybody. Altogether, their multi-layered, intersecting lives contribute to make “Shanghai itself [into] the book’s real main character,” writes Jill Baker in the Asian Review of Books. It’s a city “luring in people hoping for a second chance or … any chance at all.” (Nick)
Lotería by Mario Alberto Zambrano: It’s a rare first novel that can appeal to partisans of both S.E. Hinton and Julio Cortázar, but Lotería does just that. The story 11-year-old Luz Maria Castillo begins telling us from her room in a state institution is deceptively plainspoken: Here’s how I got here. But as the story proceeds in fragments, keyed not to chronology but to a deck of cards from Lotería (a kind of Mexican bingo), things get shiftier. Color reproductions of the cards introduce each chapter, making the book, if not exactly Kindle-proof, then at least uncommonly handsome. (Garth)
The Unknowns by Gabriel Roth: Gabriel Roth’s debut novel follows Eric Muller from his lonely high school days as a computer geek to his millionaire success in Silicon Valley as a computer geek. Slightly disoriented by his newfound abilities to make money and bed women, Muller wryly observes his life as if he is that same awkward teenager trapped in a dream life. When he falls in love with Maya, a beautiful woman with a mysterious past, he must choose between the desire to emotionally (and literally) hack into it, or to trust his good fortune. (Janet)
The Hare by César Aira: A recent bit of contrarianism in The New Republic blamed the exhaustive posthumous marketing of Roberto Bolaño for crowding other Latin American writers out of the U.S. marketplace. If anything, it seems to me, it’s the opposite: the success of The Savage Detectives helped publishers realize there was a market for Daniel Sada, Horacio Castellanos Moya, and the fascinating Argentine César Aira. The past few years have seen seven of Aira’s many novels translated into English. Some of them, like Ghosts, are transcendently good, but none has been a breakout hit. Maybe the reissue of The Hare, which appeared in the U.K. in 1998, will be it. At the very least, it’s the longest Aira to appear in English: a picaresque about a naturalist’s voyage into the Argentinean pampas. (Garth)
Night Film by Marisha Pessl: Pessl’s first novel since Special Topics in Calamity Physics, her celebrated 2006 debut, concerns a David Lynchish filmmaker whose daughter has died in Lower Manhattan under suspicious circumstances. Soon, reporter Scott McGrath has launched an investigation that will take him to the heart of the auteur’s secretive empire: his cult following, his whacked-out body of work, and his near impenetrable upstate compound. With interpolated web pages and documents and Vanity Fair articles, the novel’s a hot pop mess, but in the special way of a latter-day Kanye West album or a movie co-directed by Charlie Kaufman and Michael Bay, and the climax alone—a 65-page haunted-house tour-de-force—is worth the price of admission. (Garth)
Cannonball by Joseph McElroy: McElroy was writing the lights out in the ‘70s and early ‘80s, and in the last few years has been rediscovered by a younger generation of readers, who justly class him with Thomas Pynchon—a writer of a wildly different sensibility, but a similar, world-devouring ambition. Hell, he even did a Year in Reading. If 2011’s Night Soul is any indication, McElroy’s can still intrigue, baffle, and stop the heart, often all at once. This, his first novel in many a moon, concerns the Iraq War, among other things, and it’s hard to think of an author more suited to reimagining the subject. (Garth)
Claire of the Sea Light by Edwidge Danticat: The author of a string of heartbreaking novels about the strife-torn Caribbean nation of Haiti, including The Farming of Bones and The Dew Breaker, Danticat here tells the story of a young motherless girl whose poverty-stricken father considers giving her away a wealthier family. Hailed by Publishers Weekly as “magical as a folk tale and as effective and devastating as a newsreel,” the novel paints a stark portrait of village life in Haiti. (Michael)
Remember How I Told You I Loved You? by Gillian Linden: Gillian Linden’s debut collection of linked stories follows a young woman through college, careers, love affairs and marriages— “from delayed adolescence to (delayed) adulthood.” The publisher, Little A (Amazon’s new literary fiction imprint), describes the collection as “a sharp and intimate take on romance and infidelity, trust and betrayal,” written in a “deadpan narrative, cool and precise.” Linden’s story “Pests” was recently published in The Paris Review. Linden will join the ranks of several talented literary writers that Little A has published since its launch in March — including A.L. Kennedy, Shawn Vestal, and Jenny Davidson. (Sonya)
The Infatuations by Javier Marias: Marias’s only competitor for the title of Spain’s Most Important Living Writer may be Enrique Vila-Matas. Each of his last few books with New Directions, translated by Margaret Jull Costa, set a new high-water mark—most recently, the mammoth trilogy Your Face Tomorrow. Now he’s made the jump to Knopf, which means you’re about to hear a lot about him. And deservedly so, it would seem: The Infatuations has already been called “great literature” in Spain and “perhaps his best novel” in the U.K. Is there any reason on earth you wouldn’t want to read the greatest novel of Spain’s greatest living writer? Of course there isn’t. Now get thee to a bookshop! (Garth)
The Color Master by Aimee Bender: Ogres, tiger-mending and playing at prostitution—yep, it’s time for Aimee Bender to once again enchant us with her whimsical and magical fiction. Her next story collection comes out just three years after the publication of her bestselling novel The Particular Sadness of Lemon Cake, and it looks like the book is a return to form for Bender. Publishers Weekly says that even the tales that resemble children’s storybooks “are haunted by a taut, sardonic melancholy,” noting that her “mood pieces” about female friendship are the strongest of the bunch. (Edan)
Elect H. Mouse State Judge by Nelly Reifler: To Kafka’s “Josephine, the Mouse-Singer” and Bolaño’s “Police Rat” and Mrs. Frisby and that one A.M. Homes story where the kid gets it on with a Barbie doll, we must now add Nelly Reifler’s first novel. It’s a fast-paced caper—politician’s kids get abducted, private eyes go searching—but with a major twist: H. Mouse is a mouse, and both perps and dicks are dolls. Shrewdly, Reifler serves this concoction neat; what could have been cheap thrills give way to weirder and more surprising effects. (Garth)
The Rathbones by Janice Clark: The Rathbones is the most sui generis debut you’re likely to encounter this year. Think Moby-Dick directed by David Lynch from a screenplay by Gabriel Garcia Marquez…with Charles Addams doing the set design and The Decembrists supplying the chanteys. Initially the story of the last surviving member of an eccentric 19th-Century whaling dynasty, it becomes the story of that dynasty itself. I should also say that this was the single most exciting thing I read in manuscript in graduate school, where the author and I studied together. Clark writes a beautiful prose line, and the story, like the ocean, get deeper, richer, and stranger the farther out you go. (Garth)
A Schoolboy’s Diary and Other Stories by Robert Walser: For a long time, Walser addicts—which is to say, pretty much anyone who has come into contact with this intoxicating writer—had to make do with the novel Jakob van Gunten (but what a novel!) and a slim edition of selected stories. But, half a century after his death, the Swiss master of smallness and obscurity is finally getting the treatment he deserves. Microscripts was one of the best books I read in 2012. The tireless Susan Bernofsky has also given us versions of The Tanners, The Assistant, and a collection of Berlin Stories. In this volume, Damion Searls translates a group of stories about school life—also the engine of much of Jakob van Gunten’s exquisite comedy. (Garth)
Necessary Errors by Caleb Crain: Lately, it’s seemed that the “literary” first novel had become a genre unto itself: a certain page-limit, a certain definition of scope, a certain set of problems, modestly conceived and modestly transcended. If so, Crain’s stately, wry, and generous first novel breaks the mold. Certainly, there’s a classic coming-of-age narrative here. But as the back-cover blurbs attest, the adventures of American Jacob Putnam in Czechoslovakia right after the Iron Curtain’s fall recall Henry James as much as they do Ben Lerner. Crain’s broad social canvas and his deep interest in the lives of other people are marks of distinction. (Garth)
The Novel: An Alternative History (1600-1800) by Steven Moore: The first volume of Moore’s magisterial survey advanced a theory of the novel as inherently experimental and multicultural, and much older than is generally acknowledged. It’s not that Jane Austen moves to the margins and Gertrude Stein to the center, but that Austen and Stein become recognizably part of the same story. And though Moore hews closer, necessarily, to synopsis than to close-reading, his project is an invaluable desk reference for the catholic reader. In volume 2, he turns his sights to the era that inspired the argument in the first place, a period that begins with Don Quixote. (Garth)
The Sound of Things Falling by Juan Gabriel Vásquez: At The Age, Cameron Woodhead writes: “With The Sound of Things Falling, Colombian novelist Juan Gabriel Vásquez has created a story that can be appreciated purely for the dramatic way it dives into the black hole of his country’s past—the drug cartels and paramilitaries that scarred a generation—although the supple thought-weave of the prose won’t be lost on anyone with a taste for more reflective fiction.” Woodhead also compares Vasquez to Graham Greene, W.G. Sebald, and Robert Bolaño—all writers who give us an expansive sense of a country’s history and legacy through the lives of compelling individuals. The protagonist is a Colombian lawyer named Antonio whose memory takes him back to a long-ago acquaintance with the ex-pilot Ricardo LaVerde and a series of mysterious (and yes, violent) occurrences. Vásquez, who is 40, has published four previous novels, but prefers to not count the first two, which he wrote in his early 20s; so “officially,” Sound is his third novel. (Sonya)
The Virgins by Pamela Erens: This smart, unsettling novel is narrated by a middle-aged man obsessed by the star-crossed love affair of two classmates at his boarding school thirty years ago. Erens, author of one previous novel, The Understory, displays an uncanny gift for writing honestly about pot-toking, hormone-addled adolescents while granting them the full range of human emotion one expects from a novel for adults. The novel is from indie press Tin House Books, a spinoff of the well-known literary magazine that has quietly built a reputation as a home for first-rate literary fiction. (Michael)
The Wicked Girls by Alex Marwood: Alex Marwood is the pseudonym of British journalist Serena Mackesy, and The Wicked Girls is her dark and beautifully executed first novel. In the mid-eighties, two eleven-year-old girls meet for the first time and become friends. By the end of the day, a younger child has died at their hands. Twenty-five years later, with new lives and changed identities, the two women encounter one another in a seaside town where a serial killer is active. A haunting meditation on crime and punishment. (Emily)
The Affairs of Others by Amy Grace Loyd: Loyd, formerly the fiction editor at Playboy, moves to the other side of the desk with a first novel of elegant intensity. A young widow in Brooklyn has bought her apartment building, and so become an accidental landlord. Or do people still say landlady? At any rate, her straitened existence is challenged by the arrival of a fascinating new tenant, with emotional transformation the ultimate issue. Loyd’s burnished, spare sentences conceal hidden volumes of emotion, and in its different moods, the book may put readers in mind of Joseph O’Neill’s Netherland or of a more hopeful version of Claire Messud’s recent The Woman Upstairs. (Garth)
Brief Encounters with the Enemy by Saïd Sayrafiezadeh: Sayrafiezadeh’s acclaimed memoir, When Skateboards Will Be Free, chronicled a childhood being raised by an Iranian father and American Jewish mother united by an extreme devotion to the Socialist Workers Party. Three years later, Sayrafiezadeh, whose fiction has appeared in Granta, The New Yorker, and The Paris Review, among other places, publishes his first short story collection. The everyday trials of his characters, some of them grappling with the rippling effects of a nameless war (“this could be any war, or perhaps the next war,” Sayrafiezadeh told The New Yorker) “are transformed into storytelling that is both universally resonant and wonderfully strange.” (Elizabeth)
The Hypothetic Girl by Elizabeth Cohen: From Other Press, a collection of stories that “captures all the mystery, misery, and magic of the eternal search for human connection” via tales about the bizarre and inarguably ubiquitous world of online dating. Says Amazon: “With levity and high style, Cohen takes her readers into a world where screen and keyboard meet the heart, with consequences that range from wonderful to weird.” For anyone who’s been submerged in this wonderful weird search, these stories are likely to ring a therapeutic bell. Or, in some cases perhaps, a gong. Look out for an essay from Cohen in July, and an excerpt in early August, at Bloom. (Sonya)
MaddAddam by Margaret Atwood: MaddAddam concludes the dystopian trilogy that Atwood began ten years ago with Oryx and Crake and continued in 2009 with The Year of the Flood. Booklist calls MaddAddam a “coruscating finale in an ingenious, cautionary trilogy of hubris, fortitude, wisdom, love, and life’s grand obstinacy.” (Emily)
Bleeding Edge by Thomas Pynchon: Since his 1997 comeback, Pynchon’s been uncommonly productive…and, more characteristically, all over the map. I thought Mason & Dixon his best book; Against the Day vastly underrated; and Inherent Vice fun but disposable. Proximity to the present moment can be a telling index of the quality of a Pynchon project, so the setting here—New York’s Silicon Alley on the eve of the dot-com crash—gives one pause. But Pynchon’s ability to “think the present historically” in his last two books was the best thing about them, so maybe he still has much to tell us about the way we live now. (Garth)
Doctor Sleep by Stephen King: Thirty-six years later, it’s here: a sequel to The Shining. Dan Torrance, the tricycle peddling protagonist of the original horror classic, is now middle-age and working in a nursing home in New Hampshire where he uses his ebbing mental powers to comfort the dying. The story picks up when Dan tries to save Abra Stone, a twelve-year-old girl with gifts like the ones he used to have, who is in danger from a group called The True Knot, which travels the country consuming children with the gift of The Shining. (Kevin)
The Lowland by Jhumpa Lahiri: Lahiri’s second novel (and fourth book) comes heaped with expectations and describes the relationship between two formerly inseparable brothers born in mid-century Calcutta. The first, Udayan, is drawn into revolutionary politics; the second, Subash, leaves his native country to make a better life for himself as a scientist in the United States. But tragedy strikes Udayan and Subash returns home where he gets to know Udayan’s former wife and reconnects with childhood memories. (Kevin)
Someone by Alice McDermott: An excerpt of Alice McDermott’s new novel, Someone, appeared in the New Yorker as a story of the same name. The story is about Marie, who is seventeen years old in 1937, when a boy from her Brooklyn neighborhood turns her head, fondles her breast, promises marriage, and then spurns her for a better-looking girl. In the story, the titular Someone is the person who, Marie’s brother promises, will one day love her. McDermott told The New Yorker’s Deborah Treisman that the novel is the story of “one unremarkable woman,” because “novels about unremarkable women, especially those written by unremarkable women, seem a thing of the past.” Who you calling “unremarkable,” Alice McDermott? (Lydia)
Seiobo There Below by László Krasznahorkai: In the last few years, American readers have rapidly awakened to Krasznahorkai’s important place in the republic of world letters. He is one of few working novelists who still aspires to mastery, in the Modernist sense, and each of the three previous novels translated into English has been a masterpiece. Those books were set in Europe and New York. Seiobo, published in Hungarian in 2009, reveals a different side of the Krasznahorkai oeuvre: his decades-long engagement with East Asia. It’s a major feat of editing and translating, and the publication date been pushed back. Those who can’t wait should check out the excerpt in Music & Literature. (Garth)
Enon by Paul Harding: Harding’s 2009 debut, Tinkers, won him the Pulitzer Prize and instant acclaim as one of the most profound writers of our time. Enon follows Charlie Crosby, the grandson of Tinkers protagonist George Washington Crosby, through a year of his life after a devastating loss. Inhabiting the same New England landscape so intricately rendered in Tinkers (Enon is the town where George Crosby died), Enon is a story about small moment and big questions. (Janet)
John Updike: The Collected Stories by John Updike: This two-volume collection spans the arc of a life’s work. One hundred and eighty-six stories are presented in their final versions and in definitive order of composition, established for the first time by archival research: from “Ace in the Hole” (1953), written when Updike was still a student at Harvard, to “The Full Glass” from 2008, the final year of his life. In his poem “Spirit of ’76,” written during his final illness and published in The New Yorker three months after his death, Updike wrote:
I see clear through to the ultimate page,
the silence I dared break for my small time.
No piece was easy, but each fell finished,
in its shroud of print, into a book-shaped hole. (Emily)
Nine Inches by Tom Perrotta: American fiction’s favorite lighthearted chronicler of suburban angst delivers his first collection of short stories since Bad Haircut, his first book, nineteen years ago. In Nine Inches, Perrotta, the author of the Hollywood-friendly novels Little Children and The Leftovers (currently under development as a HBO series), returns to familiar themes of fractured families and the undercurrent of disappointment that lurks just below the placid surface of suburban life. Perrotta knows his way around a punch line, so expect some chuckles to go along with your quiet desperation. (Michael)
The Childhood of Jesus by J.M. Coetzee: When it came out in the UK and Ireland this Spring, Coetzee’s new novel was received with an even more potent combination of admiration and confusion than his work is normally met with. Reviewing the book in the Telegraph, Michael Preston asked whether it was “possible to be deeply affected by a book without really knowing what it’s about?” (The fairly obvious answer: yes.) A man and a five year old boy arrive in a sort of refugee camp, where they are assigned new names and ages. The boy speaks in riddles and claims to be able to perform miracles. Together, they search for the boy’s mother, and endure a series of odd bureaucratic encounters. The inscrutable spirit of Kafka has often flickered across Coetzee’s pages, and that spirit seems to loom large here. (Mark)
The Maid’s Version by Daniel Woodrell: Daniel Woodrell, a master of “country noir” fiction, makes rare use of autobiography in his new novel, The Maid’s Version. While growing up in West Plains, Missouri, Woodrell listened to stories his grandmother told about a mysterious dance hall explosion in town in 1928 that killed 39 people. In the novel, a grandmother tells her grandson about working as a maid for the family that was implicated in the blast but never held responsible. The novel is “very lyrical and not completely chronological,” Woodrell told an interviewer, “because it’s the story of a family and the after-effects on the family and the grandmother trying to get justice or revenge.” (Bill)
Levels of Life by Julian Barnes: Julian Barnes’s new book is not a novel, and not a memoir, and not a collection of essays, although it appears to contain elements of all three. The collection begins with a brief history of hot air ballooning and the characters involved in its development and lured by its attractions. Part two is an imagined romance between Sarah Bernhardt, who was in life one of the people from the latter category, and Colonel Frederick Burnaby, intrepid ballooner (who is, incidentally, documented on the delightful website “Great British Nutters”). In the third part of his new book, Barnes ties these curious introductory portions into a memoir of his profound grief following the loss of Pat Kavanagh, his wife of 30 years. (Lydia)
Traveling Sprinkler by Nicholson Baker: Last year, Nicholson Baker treated the Internet to a cluster of peculiar, melancholy protest songs about Bradley Manning and the Obama administration’s drone assassination program. The venture was out of character in a way that was, weirdly, entirely characteristic of Baker. The songs appear to have been, at least in part, an aspect of a method writing exercise for his new novel, Traveling Sprinkler—a sort of sequel to 2009’s The Anthologist, in which Paul Chowder sat around having a lot of thoughts about poetry while failing to write the introduction to a poetry anthology. In the new novel, Chowder sits around trying to write protest songs. Very few writers are as interesting as Baker on the theme of men sitting (or standing) around, so this looks promising. (Mark)
Dissident Gardens by Jonathan Lethem: Of the greats of his generation, Lethem is one of the few who’s gotten steadily better, novel by novel. Fortress of Solitude is a better book than Motherless Brooklyn, and in my read, Chronic City is even better than that—the highs less high, but the consistency more consistent. It’s also worth noting that Lethem’s always been a political writer (science-fiction being among other things a way of thinking about the possible) and has been more so lately. Expectations for Dissident Gardens, then—a generation-spanning saga centered around Leftists from Sunnyside Queens—should be very, very high. (Garth)
Mood Indigo by Boris Vian: Few of Vian’s novels have been translated, but L’Ecume des Jours is appearing in English for the third time, with a third title (Mood Indigo, Froth on the Daydream, Foam of the Daze, take your pick). Still, we should be grateful for what we are given—Le Monde named L’Ecume number 10 on the 100 best books of the century. Vian (d. 1959), published under his own name and the pseudonym Vernon Sullivan. He was a trumpeter in the Hot Club de France, devotee of Duke Ellington, ingester of peyote, consort of Sartre (until Sartre consorted with his wife). Written in 1947, L’Ecume is a sad, fanciful love story (which, the Harvard Crimson wrote in 1969, read like “perceptions at a stoned-soul picnic,” in a good way). Mood Indigo received the Michel Gondry film treatment last spring. (Lydia)
Subtle Bodies by Norman Rush: The decade-in-the-making follow-up to Mortals (one of our Best Novels of the Millennium) is also a departure. The first of Rush’s books not set in Botswana, it’s shorter by half than either of his previous novels, and when I got a galley in the mail, the jacket copy—comfortable fortysomethings at a Big Chill-style reunion near the start of the Iraq War—made me even more nervous. Was the Rush magic still there? Then my wife started reading it, then started putting it down to laugh, and finally began forcing me to listen to her read whole passages aloud for the sheer pleasure of the phrases. Note to Mr. Rush: You had me at “berserk industry.” (Garth)
His Wife Leaves Him by Stephen Dixon: A 600-page depiction of a jilted lover’s interior thoughts might not be your idea of an enjoyable book, but in the hands of a writer as talented as Stephen Dixon, it’s certainly one worth reading. In his own description of the novel, he’s noted that it’s about “a bunch of nouns” such as “love, guilt, sickness, death, remorse, loss, family, matrimony, sex, children, parenting, aging, mistakes, incidents, minutiae, birth, music, writing, jobs, affairs, memory, remembering, reminiscences, forgetting, repression, dreams, reverie, nightmares, meeting, dating, conceiving, imagining, delaying, loving.” Indeed these words convey the complexity of a life rendered whole, of a relationship’s threads and effects laid bare, and of honest memories enlivened by an acute and unrelenting ache. When a relationship dies, all that remains are remembered details, and in the words of Jim Harrison, “death steals everything except our stories.” (Nick)
Local Souls by Allan Gurganus: For his first book in a decade, Allan Gurganus returns to the imagined town of Falls, N.C., where he set his first and best-known novel, Oldest Living Confederate Widow Tells All. His new book, Local Souls, which owes more to Flannery O’Connor than to Nikolai Gogol, is three linked novellas set in the contemporary New South, with its air-conditioning and improved telecommunications, its freer sexuality and looser family ties. However, some old habits prove hard to break—including adultery, incest and obsession—in these tales that unfold in a Dixiefied version of Winesburg, Ohio. (Bill)
Between Friends by Amos Oz: Born in Jerusalem in 1939, Amos Oz spent three decades living on a kibbutz because city life was not “radical” enough for him and, as he puts it in his new book of stories, Between Friends, he wanted to live among “people with patience and doubts and compassion.” These eight stories, set in the imaginary Kibbutz Yikhat during the 1950s of Oz’s youth, spin around the shortcomings of idealism and the fragility of all utopias. In the end, the stories affirm Oz’s long-held belief that both on the kibbutz and throughout the larger Middle East, the only hope lies not in conflict, but in compromise. (Bill)
The Brunist Day by Robert Coover: Aside from being a terrific year for first novels, 2013 may be remembered for its efflorescence of major work from the eminences grises of postmodernism. So far, we’ve gotten Gass’s Middle C, Pynchon’s Bleeding Edge, and McElroy’s Cannonball. Now Coover, author of a couple of the great postwar novels (e.g., The Public Burning), returns with a thousand-page sequel to his very first book, The Origin of the Brunists. I haven’t been this excited to read new Coover…well, since I started reading Coover. The folks at Dzanc Books should be commended. (Garth)
Hawthorn & Child by Keith Ridgway: This isn’t the story of a family business, à la Dombey & Son, but rather a buddy-cop detective vehicle—except the cops aren’t exactly buddies, and most of what gets detected is random violence and existential unease. Ridgway is a brilliant stylist from Ireland, and the early word from the U.K. is that he’s hit his stride here, in a kind of deadpan avant-pop tour of contemporary London. (Garth)
Duplex by Kathryn Davis: Davis’s earlier novel, The Thin Place, is set in a place where the membrane between the real world and the spirit world is extremely thin. Most of her work, which includes six previous novels, sits at this same juncture, combining real and imagined worlds. Duplex is the story of Mary and Eddie, two children growing up in a duplex outside time, while “adulthood”—a world of sorcerers, robots, and slaves—looms ahead. (Janet)
Goat Mountain by David Vann: In his writing across a variety of forms—short stories, novels, memoir, and reportage—David Vann has returned repeatedly to the same deep well of themes: nature, thwarted masculinity, family, and violence. In his third novel Goat Mountain, an eleven-year-old boy goes on a deer-hunt with his father and grandfather, and things, as they tend to do this writer’s work, take a devastating turn. There’s a rawness and obsessional urgency to Vann’s writing that makes this ongoing project of recasting and development among the most compelling in contemporary literature. (Mark)
At the Bottom of Everything by Ben Dolnick: Dolnick’s third novel is about a dark secret that tears apart a boyhood friendship and how the two are brought back together as adults to reckon with what happened long ago. The jacket copy calls it “a tale of spiritual reckoning, of search and escape, of longing and reaching for redemption—a tale of near hallucinatory power.” Dolnick, who writes for NPR and the New York Times, has also written a Kindle single called Shelf-Love, about his fanaticism for Alice Munro. (Edan)
The Traymore Rooms by Norm Sibum: Poet Norm Sibum’s 700-pager should be on the radar of all the maximalism-starved readers who landed A Naked Singularity on our Top 10 list in 2012—though the book might more rightly be likened to something by William Gass or Alexander Theroux. Plot isn’t Sibum’s thing, exactly, but his erudition (considerable), sense of character (eccentric), and mood (quietly splenetic) more than compensate. The novel concerns a group of aging friends who share haunts in downtown Montreal. They talk, fight, love, and try to make sense of a historical moment that has disappointed their youthful hopes. And apart from an overreliance on that contemporary workhorse, the absolute phrase, the prose is a consistent pleasure. (Garth)
The Goldfinch by Donna Tartt: In a 2002 interview with The Guardian, Tartt said she couldn’t “think of anything worse than having to turn out a book every year. It would be hell.” She seems to have settled into a pattern of turning out a book every ten or eleven years instead. In her third novel, The Goldfinch, a young boy named Theo Decker survives an accident that kills his mother. In the years that follow, he finds himself drawn to things that remind him of her, including a painting that draws him eventually into the art underworld. (Emily)
Identical by Scott Turow: Every three years, with metronome-like regularity, bestselling lawyer-author Scott Turow comes out with another well-turned legal thriller set in corruption-rife Kindle County. Three years after 2010’s Innocent, Turow is right on schedule with a new thriller focusing on a pair of identical twins, one a candidate for mayor in Kindle County, the other a convicted murderer just released from prison after serving 25 years for killing his girlfriend. This is Turow country, so nothing is as it seems and the plot turns on a re-investigation of the decades-old murder that sent one of the brothers to prison. (Michael)
The Signature of All Things by Elizabeth Gilbert: Elizabeth Gilbert’s return to fiction (she wrote that little-known memoir called Eat Pray Love) is a sprawling historical novel about Alma Whittaker, the daughter of a botanical explorer, and talented scientist in her own right, and her relationship with Utopian artist Ambrose Pike. As the jacket copy says, “Alma Whittaker is a witness to history, as well as maker of history herself.” The book spans the globe and two centuries, and it sounds like a big and exciting artistic departure for Gilbert. (Edan)
Solo (James Bond) by William Boyd: At this year’s London Book Fair, venerated author William Boyd announced the one-word title of his forthcoming James Bond novel, which reflects the spy’s solitary and unauthorized mission. The book is an authorized sequel to Jeffery Deaver’s novel, Carte Blanche, published in 2011. At the Book Fair, Boyd said that key action takes place in Africa, the US and Europe, and remarked that Bond “goes on a real mission to real countries and the world he’s in is absolutely 1969. There are no gimmicks, it’s a real spy story.” (Edan)
Dirty Love by Andre Dubus III: The four interlocking stories within Andre Dubus III’s sixth book explore the “bottomless needs and stubborn weaknesses of people seeking gratification in food and sex, work and love.” These highs and lows are depicted by Mark, a Massachusetts man who’s recently discovered his wife’s infidelity; by Marla, an overweight young woman who’s just found a lover; by Robert, who’s just betrayed his pregnant wife; and by Devon, a teenager terrorized by a dirty picture she’s posted online, and whose story comprises the collection’s titular novella. (Nick)
Cartwheel by Jennifer DuBois: Jennifer DuBois follows her decorated first novel, A Partial History of Lost Causes, with Cartwheel, a novel with loud echoes of the recent murder trial, conviction and eventual acquittal of Amanda Knox. Cartwheel’s protagonist, Lily Hayes, is an American arriving in Buenos Aires for a semester abroad. Five weeks later she’s the prime suspect in her roommate’s brutal murder. Questions arise. Is Lily guilty? More importantly, exactly who is Lily Hayes? “Cartwheel will keep you guessing until the final page,” the publisher promises, “and its questions about how much we really know about ourselves will linger well beyond.” (Bill)
The Hired Man by Aminatta Forna: Aminatta Forna made her name with The Devil That Danced on the Water, her memoir about her father’s execution for treason in Sierra Leone. In her new novel, The Hired Man, a naive middle-class Englishwoman named Laura arrives with her two teenage children in the Croatian town of Gost, planning to renovate an old house. She enlists the help of an introspective handyman named Duro, and before long the haunted memories of the Yugoslav wars of the 1990s come bubbling up from the past. Ill-equipped to understand the dark local history, Laura will come to see that there is great power in overcoming the thirst for revenge. (Bill)
Heart of Darkness (Illustrated) by Matt Kish: In October 2011, Tin House books published Matt Kish’s Moby Dick in Pictures, with artwork for each page of text taken from the Signet Classic Paperback. Now, Heart of Darkness will get similar treatment, although this project has 100 illustrations to Moby Dick’s 552. The New York Post showcased some wonderful images from the upcoming publication. Matt Kish, a librarian by day, prefers “illustrator” to “artist,” he says, “There’s a lot of artists out there, they’re real assholes, and if you haven’t gone to art school, if you haven’t had an MFA, if you haven’t had a gallery show, if you cant put together some rambling artist statement, you’re not worthy of that term.” Looks like art to me. (Lydia)
Quiet Dell by Jayne Anne Phillips: The creepy-sounding plot of Jayne Anne Phillips’s fifth novel is based on a true-life 1930s story of a con man who insinuated himself into the life of a young, impoverished widow only to murder her and her three children. Like Phillips’s previous novel, Lark & Termite (a 2009 National Book Award Finalist), parts of the story are set in rural West Virginia, where Phillips herself is from. With a reporter protagonist who sets out to investigate the crime after the fact, there are shades of In Cold Blood. (Hannah)
At Night We Walk in Circles by Daniel Alarcón: Peruvian native Daniel Alarcón’s stories thrive on equal parts revolution and spectacle, as evidenced in his first collection, War by Candlelight, as well as in his first novel, Lost City Radio, where the emcee of a popular radio show reunites loved ones separated during a recent civil war. In At Night We Walk in Circles, the Whiting Award-winning Best Young American Novelist draws inspiration from stories told to him by prisoners jailed in Lima’s largest prison. Alarcón again situates his novel in a South American state, where the protagonist flounders until he’s cast in a revival of touring play penned the leader of a guerilla theatre troupe. (Anne)
The Last Animal by Abby Geni: This debut collection of short stories is thematically linked by characters who “use the interface between the human and the natural world to contend with their modern challenges in love, loss and family life.” Geni, who is a graduate of the Iowa Writers’ Workshop and a winner of the Glimmer Train Fiction Open, has received early praise from Dan Chaon, who says, “These are sharp, incisive, thoughtful, and utterly original stories” and from Jim Gavin, who calls these stories “Haunting and beautiful.” (Edan)
Roth Unbound: A Writer and His Books by Claudia Roth Pierpont: Is it strange that an author many wouldn’t hesitate to call the greatest living American writer has yet to be the subject of a major critical work? Pierpont remedies this with a book described as “not a biography…but something more rewarding: an attempt to understand a great writer through his art.” The New Yorker staff writer should prove a fascinating non-biographer: her previous book was Passionate Minds: Women Rewriting the World, and while her current subject has been accused of sexism many times throughout his long career, David Remnick reported that at a celebration of Roth’s eightieth birthday in March, Pierpont “took it upon herself to survey the variety, depth, and complexity of Roth’s female characters — a strong, and convincing, rebuke to years of criticism that the books are misogynistic.” (Elizabeth)
How to Read a Novelist by John Freeman: Former Granta editor John Freeman’s first book, The Tyranny of Email, considered the ways that email collapsed great distances between us. In it he argues for a more nuanced and discerning form of communication through conversation—an art form that he showcases in his latest book, How to Read a Novelist. In more than fifty interviews and author profiles of literary titans such as Haruki Murakami, Philip Roth, David Foster Wallace, and Doris Lessing, Freeman’s conversations and observations uncover these authors’ obsessions, quirks, and nuances of character as if they’re characters themselves. According to Freeman, a novelist requires observational distance, something to be considered in light of the subject of his first book: “it’s the miraculous distance that I think makes the writers who they are.” (Anne)
The Karl Kraus Project by Jonathan Franzen: Karl Kraus, as immortalized in Walter Benjamin’s essay of the same name, was an incendiary aphorist and, in his one-man journal Die Fackel (The Torch), a critic who rivaled Nietzche for implacability. His influence on the culture of pre- and interwar Austria and Germany can’t be overstated; writers from Broch to Canetti are in his debt. Yet aphorisms are notoriously hard to translate, and to date, no really good volume of Kraus has been available to lay readers in English. Jonathan Franzen’s decision to attempt one is as likely to provoke grousing as most everything he does, but I, for one, salute his berserk industry. (Garth)
The Most of Nora Ephron by Nora Ephron: Ephron died a year ago and this fall Random House is bringing out a wide-ranging collection of her writing edited by Robert Gottlieb. The screenplay to When Harry Met Sally will be in there, as will her famous piece on being flat-chested, blog posts on politics and dying, and the screenplay to her last work, Lucky Guy. (Kevin)
The Pure Gold Baby by Margaret Drabble: Drabble’s eighteenth novel—her first since 2006—is set in 1960s London. It centers on Jessica, an anthropology student who, after becoming pregnant during an affair with a married professor, is forced to raise a daughter alone, her own life’s trajectory fracturing as a result. “One thing I have never been very good at is creating ‘good’ mothers,” Drabble said in a 1978 The Paris Review interview. “I’d written books and books before someone pointed out that I was perpetually producing these ‘bad’ mothers.” The “prismatic” novel is told from the perspectives of “the mothers who surround Jess,” examining “unexpected transformations at the heart of motherhood.” (Elizabeth)
Half the Kingdom by Lore Segal: Lore Segal is a treasure-house of wit and a power-house of style. Lucinella, reissued as part of Melville House’s Art of the Novella Series, was one of the best books I read in 2009. Now Melville House returns to the well for her first novel since the Pulitzer finalist Shakespeare’s Kitchen. The plot involves a suspicious surge in the incidence of Alzheimer’s Disease among patients (characters from previous Segal novels among them) at a Manhattan emergency room in the period after September 11. Even the catalog copy brims with insight: “terrorist paranoia and end-of-the-world hysteria masks deeper fears about mortality.” You’re welcome, America. (Garth)
The Night Guest by Fiona MacFarlane: Penguin Australia is calling Macfarlane “a new voice” and “a writer who comes to us fully formed.” It’s true that The Night Guest, which will be published in October, is Macfarlane’s debut novel; but she’s been publishing stories for some time now, and here you can read a Q&A about her story “Art Appreciation,” published in The New Yorker this past May. The Night Guest centers around the mysterious arrival of Frida at the isolated beach house of Ruth, a widow, but “soars above its own suspense to tell us, with exceptional grace and beauty, about ageing, love, trust, dependence, and fear; about processes of colonization; and about things (and people) in places they shouldn’t be.” (Sonya)
Every Short Story: 1951-2012 by Alasdair Gray: Exactly what it says on the tin: the comprehensive volume (nearly 1,000 pages!) offers up more than half a century of the Scottish fantasist’s short fiction, including sixteen stories published here for the first time. Known for his dark humor and wild imagination, the stories span the broad range of his fascinating career. Whimsical drawings are interspersed throughout, the stories as much visual works as literary ones. “Illustration and typography play a major part in his work,” says The Guardian. “He doesn’t just write books, he creates them.” It’s probably worth noting, too, that The Guardian has also described Gray as a “a glorious one-man band, the dirty old man of Scottish letters.” (Elizabeth)
Personae by Sergio de la Pava: In the wake of A Naked Singularity’s success, the University of Chicago Press is likewise reissuing de la Pava’s self-published second novel, Personae. In most ways, it’s as different from its predecessor as grits from greens—a Cloud Atlas-y series of nested genre pieces covering the whodunit, the interior monologue, and the theater of the absurd. But fans of the earlier book will recognize de la Pava’s fearlessness and wild ambition, along with the ventriloquistic range that made the Jalen Kingg letters so moving. An excerpt is available at The Quarterly Conversation. (Garth)
The Daylight Gate by Jeanette Winterson: Winterson’s new novella, published to critical acclaim in the UK last year, takes on the trial of the Lancashire Witches in 1612, when a group of destitute outcasts, mostly women, were put on trial for witchcraft. “What is clear amid the poverty and brutality here,” the critic Arifa Akbar wrote in The Independent, “is that other-worldy evil is far outweighed by the harm that human beings inflict.” (Emily)
The Luminaries by Eleanor Catton: The author of the critically acclaimed debut novel The Rehearsal returns with a literary mystery set in 19th century New Zealand. When Walter Moody arrives on the coast of New Zealand, hoping to strike it rich in the gold fields, he stumbles upon a gathering of men who have met in secret to discuss a number of apparently coincidental recent events: on the day when a prostitute was arrested, a rich man disappeared, a down-on-his-luck alcoholic died, and a ship’s captain canceled all of his appointments and fled. The prostitute is connected to all three men, and Moody finds himself drawn into their interlinked lives and fates. (Emily)
A Prayer Journal by Flannery O’Connor: When Flannery O’Connor was in her early 20s and a student at the Iowa Writers’ Workshop, she kept a journal which focused on her relationship with her faith. Recently discovered, this journal should be a fascinating prospect for anyone with an interest in O’Connor’s writing, inseparable as it is from her Catholic belief in sin and redemption. It dates from 1946-47, around the time she was writing the stories that would converge into her debut novel Wise Blood. It looks to have been an exercise in bringing herself closer to her God through the act of writing: “I do not mean to deny the traditional prayers I have said all my life; but I have been saying them and not feeling them. My attention is always fugitive. This way I have it every instant.” (Mark)
Death of the Black-Haired Girl by Robert Stone: Steven Brookman is a brilliant professor at an elite college in New England. Maud Stack is his promising and alluring young student. You know where this is going. Unfortunately, however, Professor Brookman is a married man, and Maud Stack’s passions are “not easily contained or curtailed.” In this tale of infidelity and its affects on human relationships—as well as on the institutions in which they reside—Robert Stone makes clear that almost nothing is black and white, and that when it comes to “the allure of youth” and “the promise of absolution,” all roads may lead to madness. (Nick)
A Permanent Member of the Family by Russell Banks: Russell Banks—the author of The Sweet Hereafter and The Darling (among many others) and an acknowledged master chronicler of the tragedies of American life—will publish his first collection of short stories in fifteen years. The book is composed of twelve stories, six of which appear for the first time. The two-time Pulitzer Prize finalist’s last novel, Lost Memory of Skin, documented the straitened lives of a group of sex offenders living under a Florida causeway. (Lydia)
Report from the Interior by Paul Auster: Last year Auster released Winter Journal, a personal history of the author’s own body. This fall he will publish a companion piece of sorts that depicts the world as he saw it as a child growing up in New Jersey in the 1950s. (Kevin)
The Isle of Youth by Laura van den Berg: Laura van den Berg brings her mystical touch to her second collection of short stories, following her highly praised first collection, What The World Will Look Like When All The Water Leaves Us, which was shortlisted for The Frank O’Connor International Award. From a writer who professes to “freaking love coming up with zany plots,” The Isle of Youth delivers with stories of magicians, private detectives, and identity-trading twins. (Hannah)
Hild by Nicola Griffith: Nicola Griffith, British novelist and former poster child for the woes of American immigration policy (in 1998, The Wall Street Journal called her “a lesbian science-fiction writer,” like it’s a bad thing). Her newest novel Hild takes place in seventh-century Britain in the Synod of Whitby, where the people were deciding what kind of Christians to be. The name “Hild” refers to the person we now know as St. Hilda, who presided over the conference during which the Synod debated the relative merits of Celtic and Roman Christianity. In an interview with her editor, Griffith reported that the source material on St. Hilda is basically limited to five pages in the Venerable Bede’s Ecclesiastical History of the English People, so she was compelled to do a ferocious amount of research to recreate the world and customs, if not the life, of this early English figure. (Lydia)
Collected Stories by Stefan Zweig: Pushkin Press anointed 2013 as “The Year of Stefan Zweig,” in order to commemorate the 70th anniversary of the famed Austrian author’s death by a wartime suicide pact. Zweig’s fictions are oft fueled by seduction, desire, and affairs of the heart, mettle which helped make him an author of international renown during his tumultuous lifetime. Pushkin is singlehandedly attempting to reinvigorate Zweig’s reputation by issuing a series of rereleases and a handful of new translations of his works. An ideal introduction for the unacquainted comes in the form of Zweig’s Collected Stories, featuring twenty-three stories translated by Anthea Bell. (Anne)
Andrew’s Brain by E.L. Doctorow: Speaking of eminences grises… From The March to Homer & Langley to that cover version of Hawthorne’s “Wakefield” that ran in The New Yorker a few years back, Doctorow just keeps swinging. The product description on Amazon is sketchy, but the talk of a main character “speaking from an unknown place and to an unknown interlocutor [about] the circumstances that have led him to commit a mysterious act” sound downright Beckett-y, while the title makes me secretly hope Doctorow’s returning to science fiction (after suppressing his previous effort, Big as Life). (Garth)
A Place in the Country by W.G. Sebald: W.G. Sebald’s collection of six essays was originally published in German in 1998, three years before his untimely death. The collection is an homage to six writers and artists (“colleagues,” he calls them, and “Alemmanic”), all of whom meant something to Sebald: Johann Peter Hebel, Jean-Jacques Rousseau, Eduard Mörike, Gottfried Keller, Robert Walser, and Jan Peter Tripp. Already out in the United Kingdom, the essays are apparently solidly in the Sebald tradition—which, as I understand it, defies attribution of stolid nouns like “criticism,” “fiction,” or “biography,” rejoicing instead in the patterns and echoes of what one critic called “half-reality.” (Lydia)
Silence Once Begun by Jesse Ball: Chronically saddled with the designation of “experimental author,” Jesse Ball has written three novels, including The Way Through Doors, a book of poems and flash fiction, and a co-written prose poem, each work demonstrating a gift for quiet, powerful prose and a loose relationship with realism. His first hardcover release, Silence Once Begun, tells the story of a man who confesses to a string of crimes in writing, then never speaks during his arrest or interrogation, and the journalist who becomes obsessed with his case. (Janet)
On Such a Full Sea by Chang-rae Lee: Best known for his haunting stories of Korean history and American immigrant life, Korean-American novelist Chang-rae Lee tries his hand at speculative fiction, setting his new novel in a dystopian future in which America is in steep decline and urban neighborhoods have been turned into walled labor colonies that provide fresh produce and fish for the surrounding villages where the elite live. In the novel, Fan, a woman laborer, sets out in search of a vanished lover and finds herself crossing the lawless Open Counties, where the government exerts little control and crime is rampant. (Michael)
Perfect by Rachel Joyce: Rachel Joyce’s first novel, The Unlikely Pilgrimage of Harold Fry, was a national bestseller and was longlisted for the Man Booker Prize. Her highly anticipated second novel has two narratives, one about two boys in the early 1970s and their obsession with the two seconds added to clock time to balance with the movement of the earth, and one about a present-day man who is debilitated by his obsessive-compulsive routines. Blogger Kate Neilan loved it, saying, “Rachel Joyce should be praised from the rooftops for Perfect; there’s not a thing I’d change about it.”
Leaving the Sea by Ben Marcus: “With Ben Marcus, as with Beckett, such disruptions are signs of literature itself being stretched and tensed, pressed to express the process of a writer testing his limits,” says David Winters in his Millions review of Marcus’s recent novel The Flame Alphabet. Marcus has long been a champion of experimental writing and innovative uses of language, as demonstrated by the stories he selected for the unmatched Anchor Book of New American Short Stories. His forthcoming Leaving the Sea is the first collection of Marcus’s short stories. Expect nothing except more boundary pushing and an exquisite sense of the unexpected. (Anne)
“I think I’ve been had,” John Huston remarked when he finished filming his adaptation of Flannery O’Connor’s novel Wise Blood, which was just released on DVD by the Criterion Collection. Or at least that’s the story the screenwriter Benedict Fitzgerald tells. Huston’s take was that the film had a darkly comic heart, dressed in religious trappings. He was not convinced that the main character, the staunch atheist Hazel Motes, finds God in the end. That is, until the Fitzgeralds persuaded him otherwise.If anyone other than O’Connor was aware of her intentions, the Fitzgeralds were. Robert and Sally Fitzgerald provided her with a room for two years while she wrote the novel, parts of which she shared with them. Robert became the executor of her estate after she died and Sally edited volumes of her letters and nonfiction. Wise Blood stayed in the family, so to speak, when their sons, Benedict and Michael set out to turn the novel into film, for which they recruited John Huston as the director. The brothers and their mother were present on location during the filming in Macon, Georgia, and among other things, made sure Huston’s depiction remained faithful to O’Connor’s vision.If Huston was had, it was only because Hazel Motes was too. Haze wants more than anything to out Jesus as a liar and false prophet and to found his own religion, the Church Without Christ, as a response to the evangelism that he grew up with and has thrived around him. The grandson of a circuit preacher who would park his car, climb atop the hood, and start preaching hellfire and redemption, Haze determined early on to become a preacher too – but one who speaks against belief, who disabuses its converts of the false notions, needless guilt, and notions of depravity.After a stint in the army, Haze makes his way to a small southern town called Taulkinham, where he finds a whore, buys a ramshackle car, and sets out to start the Church Without Christ. As O’Connor explained in a letter to the novelist John Hawkes, Haze’s striking out against Jesus was a rebellion against a deep-set faith within him: “There are some of us who have to pay for our faith every step of the way and who have to work out dramatically what it would be like without it and if being without it would ultimately be possible or not.” With the same fervor that Haze rejects Christianity and the street preacher’s refrain, he crashes into it head-on.So it goes with Haze, that in spite of his valiant efforts to discern what is true, he’s often unable to see what lies directly in front of him. And he’s not the only one. Much is made of eyes and vision in Wise Blood; appearances are often merely facades. The blind street preacher, Asa Hawks, who Haze follows when he first arrives in Taulkinham and later becomes obsessed with, isn’t really a man of God and isn’t really blind. Asa’s bastard daughter, Sabbath Lily, gives Haze “fast eye” when they first meet, and of course there’s Haze, whose penetrating eyes, according to Sabbath, “don’t look like they see what he’s looking at but they keep looking.” That Haze continues to look becomes his saving grace. When Wise Blood’s characters believe they have clarity, it’s often the point where they’re led most astray. Take Haze’s car. He has great pride in his decrepit jalopy with one door attached by a rope; even when it breaks down, he claims it’s as fine as any. And as they’re sputtering along, Sabbath corroborates, telling Haze it runs “as smooth as honey.”In this vein, Huston’s partial blindness to O’Connor’s ultimate vision while filming Wise Blood may help explain why the film stays so true to the novel’s tone and intent. The Fitzgeralds’ guiding hand made sure Huston didn’t stray too far from the course, but the eccentric characters and the humor of their foibles could easily have slipped into caricature. Instead, they strike O’Connor’s unique pitch. Thanks to Benedict Fitzgerald’s screenplay, many of the best lines remain untouched, such as Enoch Emery’s description of his foster mother whose hair was so thin “it looked like ham gravy trickling over her skull.” Perhaps the only off note is the musical score, that inserts a punchy banjo riff a la the Beverly Hillbillies during interludes and whenever the town’s desperate newcomer Enoch Emery appears, as if to cue laughter. In contrast, Emery’s on-screen presence – disheveled, lonely, and naively enthusiastic – is nuanced and pitiably comedic. Had the director been more attuned to O’Connor’s religious vision, the depictions could easily have become more-heavy handed, and lost some of their comic potential if not their humanity.To speak of O’Connor without touching on religion is missing the point, but to focus so intently on religion that the story is sacrificed would be the greater loss. O’Connor’s genius was that she could perform the balancing act and execute it with near perfection. As she confided to John Hawkes, “I don’t think you should write something as long as a novel that is not of the greatest concern to you and everybody else and for me this is always the conflict between an attraction for the Holy and the disbelief in it that we breathe with the air of our times.” That O’Connor’s characters so believably grapple with disbelief makes them more human, and their struggles more profound. In the best sense, Huston’s film breathes life into O’Connor’s characters, with a single-minded Hazel Motes, a befuddled Emery Enoch, and an elfin Sabbath Lily, along with a host of characters from this small southern town, trying to find their way as best they can.John Huston’s Wise Blood was just released on DVD by the Criterion Collection. Bonus goodies include John Huston interviewed by Bill Moyers, an essay by Francine Prose, and an audio track of O’Connor reading her story “A Good Man Is Hard to Find.”