It’s been a great year for reading! Or, at least, every year is a great year for reading, and I’ve never done as much as I’ve done this year. Strange as it seems, the year in which I’ve worked hardest is also the year I’ve read the most, by every metric. The majority of it was probably to offset the noise around me—but a not-insignificant minority was for inspiration, and for optimism.
But as I look back at my year of reading, I find some odd themes. For one, whenever I’ve been utterly bewitched by a writer, I have gone to the bookstore and bought as much of their oeuvre as possible (I know this because one, and only one, aspect of my expenses has been driven up). For another, when I think of what I’ve read—particularly nonfiction—it’s often not because of what the book is ostensibly for (insofar as books have singular purpose, which they do not), but because of something else entirely. So let’s take a gander:
1. EpistemologyI’ve spent much of this year daydreaming about how people seem to know things with such certainty. Every year is like this, obviously, but this one far more than others. Imagine my frustration at the knottiness of the answer. What is Lauren Groff’s Fates and Furies about? For me, it was a demonstration of an idea that simply the act of constructing fictions about oneself (within an act of fiction) makes the fictive more real. So, of course, when Florida came out, I threw myself at it as if it were my last allowed love affair with a book—and found something very similar, because I went looking for it. Many other things satisfied the same itch. Victor LaValle’s The Changeling, Sigrid Nunez’s The Friend, Camille Bordas’s How to Behave in a Crowd were more like works of philosophy than fiction.
This was probably not altogether helped by the fact that I was simultaneously reading Seneca’s Consolations, Montaigne’s Essays, Plutarch’s Fall of the Roman Republic, and Lucretius’s The Way Things Are, and all manner of skeptical philosophers. I say this not to give myself a pat on the shoulder for being oh-so-academic: I quite literally went back to the source, so to speak, whenever things seemed even the tiniest bit off, both in real life and in literature, only to return far more confused. That, then, let me down a rabbit hole of “post-structuralist” literary theory. What that really means is: I’ve been hearing some names over and over for years now, and finally felt embarrassed enough to actually read them. And so I read Roland Barthes’s S/Z and The Pleasure of the Text, Jacques Derrida’s Writing & Difference, and although I likely understood the bare minimum, I understood enough to feel deeply suspicious that anything I subsequently read could have some actual import towards understanding the world or myself. Rachel Cusk’s Kudos, like the other two books in the Outline trilogy, then furthered the case for literature bearing no relation to reality. I wondered if I’d ever get away with a book fashioned out of a series of transcripts for every one-sided conversation I had with another person.
2. BafflementMy active search for all things baffling probably started after I read Antoine Volodine’s Minor Angels, Roberto Bolaño’s Antwerp, and Marie NDiaye’s My Heart Hemmed In. I loved them all, and I spent enough time with NDiaye to be somewhat confident about what I was reading, but mostly they made me feel very inadequate, in the way that ‘intelligent’ books often do. Ahmed Bouanani’s The Hospital made me feel ill, and I’m pretty sure I skipped a doctor’s appointment because I was slightly afraid I’d land up in purgatory. Fernando Pessoa’s The Book of Disquiet induced my first ever existential crisis (or, at least, what I think was an existential crisis), and then Clarice Lispector’s The Chandelier made it worse. Ali Smith’s Autumn and Winter didn’t really help me be less baffled—though inhabiting their fractured, Brexit-era semi-narratives certainly helped to distract me.
Notably, as reprieve from all this, I read Zadie Smith’s Changing My Mind, and then sat and thought for a while; soon, I had finished Feel Free as well and was caught between the twin sentiments of annoyance at her seemingly-tepid politics and awe at her ability to make me doubt everything nonetheless. In other words—a reprieve it was not. Alexander Chee’s How to Write an Autobiographical Novel swooped in a bit dramatically; inasmuch as it helped me feel my ambivalence wasn’t necessarily a problem. Also, it made me feel warm and fuzzy by helping with a bit with my imposter syndrome.
All this coincided with the fact that my patience, as with many others nowadays, was at an all-time low this year. I’ve been tired of liberal narratives for quite some time, and narratives set at maximum moral outrage that insist that this age of Trump is, for the first time in human history apparently, some unique assault on truth. So imagine my surprise when—having rolled my eyes through the first story—I found myself admiring the high-wire circus tricks on display in Curtis Sittenfeld’s You Think It, I’ll Say It, and simultaneously irritated with the far more radical and experimental My Year of Rest and Relaxation by Ottessa Moshfegh. The stories in Charles Johnson’s Night Hawks felt taut and sparse like Sittenfeld’s, but with fewer surprises, a lot more Buddhism than I could fathom, and fewer bourgeois settings. I liked them. The prose in Christine Schutt’s Pure Hollywood stories was lyrical and very bourgeois, but less searching than it seemed to think it was. Anyway, my collision course with all things bizarre all came crashing down when I read César Aira’s The Literary Conference. It was more ludicrous than anything I had ever read. So naturally, I bought all the translated books by Aira, apparently one of the most baffling of all living writers. By about book 8, I began to understand his ways, and felt grateful for his unapologetically-leftist bent. Then, for every subsequent book, I started to take notes on details that I found baffling, to see if the writer ever returned to them. I avoided Karl Ove Knausgaard all year, on purpose. The day before I wrote this, I devoured Amparo Dávila’s collection The Houseguest in one sitting. Once, my flat-mate knocked on my door, and what he probably saw was me: bug-eyed, and furiously turning pages which screamed sometimes like newborn children, crushed mice, like bats, like strangled cats.
3. TraditionOne of the other things I did most this year was think about what kind of writer I wanted to be. Having read some avant-garde horror novels (above), I read a little Gothic literature. I re-read Mary Shelley’s Frankenstein, and finding in it new things to love, turned to Horace Walpole’s The Castle of Otranto and James Hogg’s The Private Memoirs and Confessions of a Justified Sinner. The latter weaseled its way into a story I wrote which almost scared me to death—and then made me wonder how awful I must be to have written something like that. Still, by the time I had to read Mohammad Hanif’s Red Birds for review, I had read enough stuff to wonder why in the world South Asian writers kept writing such hackneyed stories when so many other possibilities existed, and unleashed a bit of a tirade on some very famous South Asian writers for the Chicago Review. I went back to Kamila Shamsie’s Home Fire, which I hadn’t liked at all the first time, and forced myself to pick out some things I did like. Somewhere in the middle, I read Fatima Farheen Mirza’s A Place for Us with some amount of glee, because it felt nothing like the reflexively Orientalist prose I’d gone off about. That made me very happy.
4. HistoryIt doesn’t feel right at all to talk about the books that had a major impact on my year without mentioning some of the amazing nonfiction, most of which satisfied historical curiosities whether they were meant to be historical or not. Sarah Smarsh’s Heartland and Meghan O’Gieblyn’s Interior States were expert antidotes for my irritation with tired Trump-era (ugh, even that term) tropes, and expanded my understanding of this very strange country in all sorts of empathic ways (and with O’Gieblyn, some unsettling ways, too). Alice Munro’s The View from Castle Rock was fascinating—though I knew in her case she had a small, not-insignificant luxury. After all, how far back one can construct one’s own family tree seems to be at least one measure of freedom. I read one very expansive history of the U.S. in Jill Lepore’s These Truths, and one over a far shorter period of time in Angela Nagle’s Kill All Normies. One is enormous, the other skinny—but both are a little unsatisfying. I suppose These Truths should have satisfied my itch for epistemology too; but as it turns out that—for this American history dilettante—meeting the standards of one Howard Zinn is nigh-impossible.
So: on to kinds of history. I read Henry Gee’s Across the Bridge—about the evolution of vertebrates—and talked about it at work (my laboratory) daily. It proved infectious. Ursula Heise’s Imagining Extinction was magnificent. I didn’t want it to end. Anna Tsing’s The Mushroom at the End of the World was fascinating—who knew there was so much to know about the global matsutake mushroom trade!— and on a craft-level, a lesson for academics: see, you don’t have to be boring at all! Ann Blair’s Too Much to Know was utterly convincing in the way things one is already convinced about can be made even more convincing simply by becoming encyclopedic. Andreas Malm’s The Progress of This Storm and Deborah Coen’s Climate in Motion had equal and opposite effects: the first made me progressively more enraged and confused, the second made me progressively calmer and clearer. Essentially, environmental historians still haven’t quite figured out precisely how pessimistic they ought to be about climate change; but I suppose, in the Trump era, we should be happy they’re writing at all.
5. CryingI don’t prepare to cry when I read (who does?) But I would be remiss if I didn’t mention the books that made me stop in my tracks and sob. Most times it had very little to do with the book and everything to do with my day or week. But sometimes it was most definitely about the book.
There is one particular moment in my editor Lydia Kiesling’s The Golden State where the reader, just like the protagonist Daphne, has to process what has just occurred and cry. Anybody who has read it will probably know which moment this is (I’m not exactly being subtle), but that cry was one of the best cries I’ve ever had all year. Other similar stop-and-cry impulses happened during R.O. Kwon’s The Incendiaries and Porochista Khakpour’s Sick—both cries were probably more about me than the people I was reading about, but both were beautiful and cathartic and only one happened in public. Again—sometime in the middle of the year—I went to a philosopher to figure out all this crying business. The fact that I chose Nietzsche’s The Birth of Tragedy for this task is pretty stupid when I think about it, because it didn’t make me cry at all, and I had thought it could teach me something about verisimilitude, but it did not. Anyway, that is what I did. Regardless, I read a whole lot after that to make myself cry, but nothing worked. Or at least, nothing worked as well as one particular book did; Celeste Ng’s Little Fires Everywhere. I have one theory that explains why: I realized that the number of books I had read was directly proportional to how lonely I was. So take that, Barthes! Books may not resemble life, but the act of reading does.
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Toward the end of 2017, a woman emailed me with an offer to buy my 1-year-old son. She could tell I didn’t want to be a mother based on an essay I’d written, and she believed my son deserved someone more like herself. She would meet me anywhere in the country, with an amount of money that was up to me, she wrote, then referenced the park a few blocks from where my family and I lived. Two weeks later, we moved across the country. The move was planned, but because of this email and other messages like it, I tried to stay quiet about our location in public, internet spaces. That woman and her kind are welcome to think I still live near that park in Brooklyn.
Here, our books live in shelving far from where I usually read. This house has an upstairs and a downstairs. The garage—which holds two strollers and a couple of bikes—doesn’t have a car, but occasionally we borrow one and park it in the driveway. Every weekday, I leash up the dog and walk the two blocks between this rented house and my son’s preschool. Often, I don’t say more than a few words to anyone besides my family. My companions are books and podcasts, single-sided relationships with other people’s words.
One of the reasons we moved has to do with our son, who was born with a progressive genetic disease. We had read scientific papers stating the value of the ocean for people with compromised lungs like his; we had scrutinized the lung-function data on patients in the area. Immediately after we moved, his new doctor increased the amount and intensity of his treatments and medications. Part of this was age: He newly qualified for certain medications; he’d finally grown big enough to wear the medical vest that shakes up the persistent mucus forming in his lungs.
When my son’s at his healthiest, he needs about two hours of treatment a day. His father does the mornings while I hide in the bedroom with headphones on and work. I do the evenings. The other day our son told me, “Daddy does the sun, and you do the moon.” Sometimes I catch myself looking forward to this time of day, when work is over and my son is watching TV in my lap and I have a book in one hand and his nebulizer in the other, and I’m overcome with shame.
Early in the year, as the compressor hummed and the medical vest vibrated, I read Jesmyn Ward’s Sing, Unburied, Sing, which you don’t need me to tell you is searing and incredible, and then I read Do Not Become Alarmed by Maile Meloy. I read all of Ruth Ware’s books, then the two Tana French ones I hadn’t read. I read Leïla Slimani’s The Perfect Nanny and found it chilling and indicting in a way I think went largely unobserved, and then I tried and failed to write effectively about whatever it is I mean by that.
My son caught colds and needed more treatments. It was so tempting to be angry when we were told to increase treatment time to four hours, as if those doctors and nurses were punishing my son instead of trying to keep him out of the hospital. One or two times, maybe more, I couldn’t stop myself and brattily asked how any parent who works is supposed to keep up with this level of treatment. Somewhere in there, I tried reading memoirs, by Emily Rapp and Tara Westover, and worried I would never be able to figure out memoirs.
In the spring, I read what I believe are three essential Mom Books: The Millions’ own Lydia Kiesling’s The Golden State, which is the experiential novel of early motherhood any baby-curious person who cares about the West—any person, really—should read. I reread Meaghan O’Connell’s And Now We Have Everything when it arrived to me in its beautiful hardcover form with just as much greed as I did the first time around, when I squinted into a strangely formatted PDF that I made Meaghan send me. If Lydia’s book is experiential, then Meaghan’s book is an analysis of the motherhood experience—a balance of description and examination, of humor and emotion. I also read Angela Garbes’s Like a Mother, the very human look at the science of pregnancy, childbirth, and early motherhood. Angela is a dream teacher and writer for someone like me, who loves a story but isn’t an experienced reader of science.
(I want to note that I am very biased and have edited work by all three of these women. But I will also note that I have commissioned and assigned pieces by them for the exact reason that they are very good writers.)
One of the only books by a man I read this year was Andrew Solomon’s Far from the Tree. I needed to reread Solomon’s book before writing about the documentary of the same name, which is a mash-up of Solomon’s story and the stories of families with children who are profoundly different from their parents. I have complicated, mixed feelings about Solomon’s work, partially because I think it’s incorrectly heralded as a tribute to the beauty of humanity. The book has its beautiful parts, as does the film, but I think what his work is truly about is the stubborn and at times ugly persistence it takes to love and care for any child, no matter that child’s level of difference.
The Mars Room by Rachel Kushner wore me to the bone, the first book I picked up this year where I was not expecting to encounter so much female pain. It’s written in one long ache of mother anguish, and it’s a San Francisco book, but almost unrecognizably so. Today, the western side of the city feels haunted—during the time Kushner’s writing about, those ghosts are alive and walking the streets. I didn’t read very many collections of short stories this year, but I did read Curtis Sittenfeld’s new collection, You Think It, I’ll Say It, and each story was just as funny and sad and acutely observed as her novels are.
It was summertime by then, though summer does not exist in any physical way where I happen to live. I don’t remember what I was reading the day this happened, but I know we were spending the weekend an hour south at our friends’ house. It was me, my husband, a couple he’s known since college, our son, their daughter. The kids are about 10 months apart and get along—the last fight they had was about the speed at which a song should be sung (my son thought fast, she thought slow). Usually, if we’re all together, she sits with my son during treatment, recognizing a free opportunity to watch an hour’s worth of TV. But that day he refused to watch the show she wanted (Peppa) and treatment is a time when we let my son have his way, since treatment is a blunt manifestation of how much has not gone and will not go his way. After she got up and ran out to the deck, my son turned his attention to what I think was a show about trucks, and I read whatever it was on my Kindle.
Maybe 10 minutes in, we heard knocking—my husband and our friends’ daughter were at the window, grinning and motioning for our attention. My son looked away from his screen and stood up, saying something—it’s hard to understand someone who’s both 2 and wearing silicone—and clawing at the nebulizer mask I was holding over his face. He managed to get it off and I turned off the compressor as his voice unmuffled and I understood what he was repeating: no more no more no more no more. I froze and then unfroze and shook my head at my husband to try to get them to go away, to make him realize what it was doing to our son, seeing that healthy child playing on the other side of the glass. Finally I mouthed stop in a way that reached him, and the expression on his face collapsed, and he and our friends’ daughter and their freedom moved out of sight. I sat my son back down and turned the compressor back on and we both turned back inward, to our screens filled with other people’s words.
My favorite book is Irma Voth by Miriam Toews; if you were taken by Sally Rooney’s Conversations with Friends, read this—it’s even better. So many people I know love Toews’s All My Puny Sorrows, and I do too, but Irma Voth is the best depiction of impossible, unquenchable female pain I’ve ever read. I don’t remember how I eventually got a galley of her newest, Women Talking, but once I finally got it I was uncharacteristically prim about starting it. A few weeks went by before I finally did. Somehow I hadn’t realized it was narrated by a man and at first I was mildly disappointed, and then I was selfishly thankful, because I think the amount of female pain in Women Talking might flatten the person who reads it without the buffer of a narrator one step removed.
The year felt like it might already be over when the Camp Fire started. Suddenly, everyone had become fluent in the air quality index, and for once, our child wasn’t the only one who couldn’t play outside. But our homes were fine; unlike the people in Paradise, our possessions and everyday lives had not gone up in flames. At first, maybe one in three of our neighbors wore a mask to walk their dogs through the thick-crisp air. We still took our son preschool, trying to shuttle from indoors to indoors as quickly as possible. Then our son’s nose ran with thick snot, and he began to cough. The city closed all the schools, the office workers were told to stay home. Our son’s cough worsened. The only recommendation you could get from anyone was to stay inside and wear a mask, but my husband desperated his way through a Target and came home with the store’s last $400 air purifier. The now-familiar guilt bloomed after we used it to measure the air quality inside the room where our son sleeps. He and I got on a plane to my parents’ house the next day.
Those few weeks require a long, complicated explanation. They cost hours of phone calls, thousands of dollars, and two weeks away from my son. My husband didn’t see him for nearly three. At one point, our son’s blood oxygen level was the lowest I’d ever seen it—when I updated our tough-as-nails nurse from the small-town doctors’ office near my parents’ house, it was the first time I’d ever heard her sound worried. I left him with my parents in the hopes that level would go up and went to New York for work and thank god, it did. For a few days it seemed like he was getting better. I was sitting at a desk in the office I used to go to every day when my mom called to say he’d spiked a fever and the small-town doctor was certain he had the flu and—well, we all knew what that could mean for him. If there’s any skill I’ve gained from dedicated reading, it’s whatever mettle is necessary to cry quietly while writing a few emails.
In the end, he did not have the flu. We still don’t know what that sudden fever was about. He seemed to feel terrible, then a bit better. Just like that, reality turned back into something I could face without first pulling a security grate down over my mind.
The past few days I’ve been reading Heavy by Kiese Laymon because Heather Havrilesky wrote that it’s overflowing with a brutal honesty, and whose own new book, What If This Were Enough?, is just as overfull with sometimes painful truth. There is so much I hope for my son, and one hope is that he finds something that gives him what reading gives to me: a way to rest from the kind of violence it takes to endure regular life, which I think he might need more than I do—since it must take even more violence to endure regular life when your body is actively trying to end it for you. I could say that I hope 2019 will be different, but I suspect it will be more of the same, requiring many books and lots of ugly persistence and all the stubborn love we can live with.
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Longtime listener, first-time caller. I’m excited to be here talking about my Year in Reading. This was the first full year in almost a decade that I didn’t have a monthly column in Marie Claire magazine to write about forthcoming books. As a result, my reading had less structure than usual. I put down a lot of books that didn’t do it for me, and shuffled and reshuffled my to-be-read pile to my heart’s content. It’s been liberating. But, a new restraint has also entered the scene. My toddler has recently become a book connoisseur. He often hijacks the book I’m reading for himself or replaces it with something he’d prefer to have me read—which is more often than not Bao Phi and illustrator Thi Bui’s A Different Pond, author and illustrator Brian Floca’s Locomotive, or Jane Yolan and illustrator John Schoenherr’s Owl Moon. I’m grateful to the authors and illustrators for providing rich text and complex art that keeps us both rapt after multiple readings.
Before I get to the adult titles I read this year, I’ll start with a confession. When I read poet phenom Carrie Fountain’s young adult debut I’m Not Missing and novelist Marisha Pessl’s Neverworld Wake, I actually didn’t know either was YA. When I got to the end of both, I was like, Huh, I wonder if they had any conversations about billing this as YA? Seems like it could go either way—fans of Karen Thompson Walker’s The Age of Miracles know what I’m talking about—with a teen protagonist going through some real adult shit. Which is to say, if you balk at the YA dubbing you’re missing out. I like to think of a YA designation as a kind of PG-13 designation; it doesn’t mean it’s only for teens, it just means that it’s not inappropriate for teens. As case in point, a transformative book I read earlier this year, The Hate U Give by Angie Thomas, is essential. Every high schooler in the country should be required to read it, and all adults retroactively should, too.
Now, onto the adult books. A book that made me emotional as hell: I Am, I Am, I Am: Seventeen Brushes with Death by Maggie O’Farrell. Maggie O’Farrell beautifully flays the moments in her own life that danced with true danger, and asks, What could happen? What did happen? Am I ok? Depending on if you’re a glass-half-full or a glass-half-empty person, my life has had a lot of unlucky brushes or I’m one of the luckiest people you’ve met. So this particular collection poked at a lot of my most sensitive thoughts. I’d recommend this book to everyone who loved Wild by Cheryl Strayed, as this, too, is a penned head nod at the real and invisible scars women carry.
I was lucky to travel a bit this year, and it’s important you know that I don’t believe in vacation reading as a separate genre. Whatever book I might choose to read at the beach, is a beach read. Some of my ““beach”” reading included some amazing LGBTQ titles like John Boyne’s The Heart’s Invisible Furies, Chelsey Johnson’s Stray City, and, the exciting new king of the footnote (I can’t, in good conscious, celebrate David Foster Wallace anymore), Jordy Rosenberg with Confessions of the Fox. On one particular trip, my husband, our four closest friends, and I went on spring break. Without any of our children present, we relished in the unencumbered time to do whatever we wanted—floating in the ocean for hours, sleeping in, happy hours, or reading at a speed that didn’t suggest a child might cut short the reading time at any moment. The only book I ended up reading on this trip, slowly, engrossed by it the way it should be was There, There by Tommy Orange. This book is stunning and made me literally gasp at the end.
I’m an audiobook junkie. I drive a decent amount—commuting to and from work and daycare—so that makes up a significant part of my listening. But I’m not precious about how much time I have. I just get started, even if it’s only a 10-minute drive; it adds up, naysayers! When I’m hooked, I end up putting in headphones and listening while I cook, or while I do laundry. I’ll even uncharacteristically make up errands and chores to keep listening. Some particularly wonderful books that I enjoyed on audio this year are Eleanor Oliphant is Completely Fine by Gail Honeyman (one could argue audiobook is the preferred format for this book as the Scottish accents make all the difference), Rumaan Alam’s That Kind of Mother, Luis Alberto Urrea’s House of Broken Angels, My Year of Rest and Relaxation by Ottessa Moshfegh, Less by Andrew Sean Greer. Less is one of the more hyped books in the past few years (I guess a Pulitzer Prize under the belt does that?) but it’s well worth the praise, just stick with it! I’m the queen of ignoring hype for no good reason except for the sake of it. I’m working on it. Which is to say, Pachinko by Min Jin Lee took me a year to get to, a year that I could’ve been living with that book in my brain! I’m glad I rectified it. Circe, too, by Madeline Miller. The description didn’t grab me, and I can’t remember what ultimately made me read it, but that book literally has everything. For these lapses, my New Year’s Resolution is to consider widespread acclaim more carefully, so as not to delay reading some great books.
Perks of my job include being able to sweet talk my way into very early copies of some books. I was able to finagle Miriam Toews and Susan Choi’s forthcoming books, Women Talking and Trust Exercise. And Maryse Meijer’s Northwood (which is now available). All left me dizzy with their strength of voice and inventive forms, dying to find folks who had also had the early preview to hash them out with. JFC, these women can write. I was so deeply affected by all three that I have the chills just typing this out. Peter Geye’s latest novel, Northernmost, doesn’t come out till 2020, so, sorry, sorry, sorry to bring it up now but it’s sexy, thrilling, and Minnesotan—this Minnesotan never gets to say all those words in the same sentence so I’ll beg your pardon for that very early peek. I also recently finished Dani Shapiro’s latest memoir, out in January, Inheritance. Dani’s ability to write in the middle of a moment is unparalleled and this book is no exception; in it she has very recently learned her father is not her biological father. I’m actively wondering if Ancestry.com is going to start giving her a cut of the inevitable sales boost post publication.
Do you watch Midsomer Murders? My dad and I love to watch that show together. If you’re a fan, Magpie Murders by Anthony Horowitz seems like a good book to tell you to read. I struggle to explain the details because I hate to prep people for a plot twist, but this one is [chef’s kiss]. I hadn’t previously deliberately read many mysteries or thrillers, despite my penchant for them in movies and TV. So this year I dabbled, and I’ll give a shout out to Mira Grant whose book Into the Drowning Deep scared me so effectively and thoroughly I may never get into the ocean again.
Other books that made deep impressions on me this year: Karen Tei Yamishita’s Letters to Memory, Jamie Quatro’s Fire Sermon, Meaghan O’Connell’s And Now We Have Everything, Neal Thompson’s Kickflip Boys, Nicole Chung’s All You Can Ever Know, and Kim Fu’s The Lost Girls of Camp Forevermore (as a Fu megafan, I was thrilled and satiated to read her latest). In Curtis Sittenfeld’s You Think It, I’ll Say It, the title story is so realistic that I still feel sad for the protagonist and her deep misreading of an encounter.
While I’m wrapping up and wondering what book(s) I’m forgetting here, the book I spent the most time with this year and am better for is Ada Limón’s The Carrying. Ada’s work is a gift. I will fight anyone who says they don’t want to read it because they’re not a poetry person (and by “fight,” I mean direct you to your local indie or library to flip through the pages and convert you).
On deck? I’m chomping at the bit for early copies of Catherine Chung’s The Tenth Muse and Mira Jacob’s Good Talk, both out next year. I’m also reading all the titles of folks coming to Wordplay, May 11-12 in Minneapolis (we’ll be releasing the full line-up of authors on January 17). And, meanwhile, I’m considering becoming a person who buys lottery tickets so I can get a producer credit on Dan Sheenan’s Restless Souls, a book that is so gorgeously cinematic it boggles the mind that it has not yet been made into a movie.
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I am lucky to be part of Instagram’s book community via the account I started a few years ago, @bookandbeans, which gives me early access to many of the most anticipated books of the year. I initially joined Instagram while feeling quite isolated: As a young mother in a new place, it was often hard for me to find a sense of connection with others, especially as an Arab American in a predominantly white southern town. I’m always reading multiple books, juggling different styles and plots, seeking out connection and understanding. I often find myself surprised by how seen I feel in unlikely places. Here are 10 of my favorite books this year, along with quotes I had underlined in them—hopefully you will feel that same sense of belonging when you read them as I did.
“Perhaps it was simply that things were happening inside her, terrible things, which no one else could even guess at, and thus it was impossible for her to engage with everyday life at the same time. If so, she would naturally have no energy left, not just for curiosity or interest but indeed for any meaningful response to all the humdrum minutiae that went on on the surface.” —Han Kang, The Vegetarian
“I’m not from Israel. I’m from before Israel, from beneath the Israeli towns and cities built over my homes and orchards and fields. I am an Arab Palestinian, not an Israeli.” —Moriel Rothman-Zecher, Sadness Is a White Bird
“What is a life? A series of yeses and noes, photographs you shove in a drawer somewhere, loves you think will save you but that cannot. Continuing to move, enduring, not stopping even when there is pain. That’s all life is, he wants to tell her. It’s continuing.” —Hala Alyan, Salt Houses
“Often, still, my own life story feels fragmented, like beads unstrung. Each time I scoop up my memories, the assortment is slightly different. I worry, at times, that I’ll always be lost inside.” —Clementine Wamariya, The Girl Who Smiled Beads
“If you don’t know the tale of where you come from, the words of others can overwhelm and drown out your own. So, you see, you must keep careful track of the borders of your stories, where your voice ends and another’s begins.” —Jennifer Zeynab Joukhadar, The Map of Salt and Stars
“How were they to know the moment that would define them? It will affect his personality for his whole life, someone is saying to her, and whose fault will it be then? Mine, a voice replies, and the voice is hers.” —Fatima Farheen Mirza, A Place for Us
“Oh, our private selves—how strange we all are, how full of feelings and essentially alone.” —Curtis Sittenfeld, You Think It, I’ll Say It
“A woman doesn’t always have a choice, not in a meaningful way. Sometimes there is a debt that must be paid, a comfort that she is obliged to provide, a safe passage that must be secured. Everyone of us has lain down for a reason that was not love.” —Tayari Jones, An American Marriage
“It was that kind of mindfuck: to be too visible and invisible at the same time, in the ways it mattered the most.” —Lisa Ko, The Leavers
“Being a woman is always a performance; only the very old and very young are allowed to bow out of it. Everywhere, you are observed and assessed: walking down the street, riding a bus, driving a car, eating in a café. You must smile, but not too widely. You must be pleasant, but not forward. You must accommodate and ingratiate but never offer too much of yourself, and never for your own pleasure. If you do this, it must be in secret.” —Frances de Pontes Peebles, The Air You Breathe
“They are both popular and literary and seem to have no problem standing with a foot in each category.” For The Paris Review, our own Adam O’Fallon Price writes about the “unambiguous sophistication” of Curtis Sittenfeld’s writing—which is often regulated to the world of “chick lit”—and her new short story collection, You Think It, I’ll Say It. (Read our interview with Sittenfeld.)
Settle in, folks, because this is one the longest first-half previews we’ve run in a long while. Putting this together is a labor of love, and while a huge crop of great spring books increases the labor, it also means there is more here for readers to love. We’d never claim to be comprehensive—we know there are far more excellent books on the horizon than one list can hold, which is why we’ve started doing monthly previews in addition to the semi-annual lists (and look out for the January Poetry Preview, which drops tomorrow). But we feel confident we’ve put together a fantastic selection of (almost 100!) works of fiction, memoir, and essay to enliven your January through June 2018. What’s in here? New fiction by giants like Michael Ondaatje, Helen DeWitt, Lynne Tillman, and John Edgar Wideman. Essays from Zadie Smith, Marilynne Robinson, and Leslie Jamison. Exciting debuts from Nafkote Tamirat, Tommy Orange, and Lillian Li. Thrilling translated work from Leïla Slimani and Clarice Lispector. A new Rachel Kushner. A new Rachel Cusk. The last Denis Johnson. The last William Trevor. The long-awaited Vikram Seth.
As Millions founder and publisher C. Max Magee wrote recently, you can help ensure that these previews, and all our great books coverage, continue for years to come by lending your support to the site as a member. The Millions has been running for nearly 15 years on a wing and a prayer, and we’re incredibly grateful for the love of our recurring readers and current members who help us sustain the work that we do.
So don your specs, clear off your TBR surfaces, and prepare for a year that, if nothing else, will be full of good books.
The Perfect Nanny by Leïla Slimani (translated by Sam Taylor): In her Goncourt Prize-winning novel, Slimani gets the bad news out of the way early—on the first page to be exact: “The baby is dead. It only took a few seconds. The doctor said he didn’t suffer. The broken body, surrounded by toys, was put inside a gray bag, which they zipped up.” Translated from the French by Sam Taylor as The Perfect Nanny—the original title was Chanson Douce, or Lullaby—this taut story about an upper-class couple and the woman they hire to watch their child tells of good help gone bad. (Matt)
Halsey Street by Naima Coster: Coster’s debut novel is set in Bedford-Stuyvesant, a rapidly gentrifying corner of Brooklyn. When Penelope Grand leaves a failed art career in Pittsburgh and comes home to Brooklyn to look after her father, she finds her old neighborhood changed beyond recognition. The narrative shifts between Penelope and her mother, Mirella, who abandoned the family to move to the Dominican Republic and longs for reconciliation. A meditation on family, love, gentrification, and home. (Emily)
Fire Sermon by Jamie Quatro: Five years after her story collection, I Want to Show You More, drew raves from The New Yorker’s James Wood and Dwight Garner at The New York Times, Quatro delivers her debut novel, which follows a married woman’s struggle to reconcile a passionate affair with her fierce attachment to her husband and two children. “It’s among the most beautiful books I’ve ever read about longing—for beauty, for sex, for God, for a coherent life,” says Garth Greenwell, author of What Belongs to You. (Michael)
The Largesse of the Sea Maiden by Denis Johnson: Johnson’s writing has always had an antiphonal quality to it—the call and response of a man and his conscience, perhaps. In these stories, a dependably motley crew of Johnson protagonists find themselves forced to take stock as mortality comes calling. The writing has a more plangent tone than Angels and Jesus’ Son, yet is every bit as edgy. Never afraid to look into the abyss, and never cute about it, Johnson will be missed. Gratefully, sentences like the following, his sentences, will never go away: “How often will you witness a woman kissing an amputation?” R.I.P. (Il’ja)
A Girl in Exile by Ismail Kadare (translated by John Hodgson): Kadare structures the novel like a psychological detective yarn, but one with some serious existential heft. The story is set physically in Communist Albania in the darkest hours of totalitarian rule, but the action takes place entirely in the head and life of a typically awful Kadare protagonist—Rudian Stefa, a writer. When a young woman from a remote province ends up dead with a provocatively signed copy of Stefa’s latest book in her possession, it’s time for State Security to get involved. A strong study of the ease and banality of human duplicity. (Il’ja)
Frankenstein in Baghdad by Ahmed Saadawi (translated by Jonathan Wright): The long-awaited English translation of the winner of the International Prize for Arabic Fiction in 2014 gives American readers the opportunity to read Saadawi’s haunting, bleak, and darkly comic take on Iraqi life in 2008. Or, as Saadawi himself put it in interview for Arab Lit, he set out to write “the fictional representation of the process of everyone killing everyone.” (Check out Saadawi’s Year in Reading here.) (Nick M.)
This Will Be My Undoing by Morgan Jerkins: Wünderkind Jerkins has a background in 19th-century Russian lit and postwar Japanese lit, speaks six languages, works/has worked as editor and assistant literary agent; she writes across many genres—reportage, personal essays, fiction, profiles, interviews, literary criticism, and sports and pop culture pieces; and now we’ll be seeing her first book, an essay collection. From the publisher: “This is a book about black women, but it’s necessary reading for all Americans.” The collected essays will cover topics ranging from “Rachel Dolezal; the stigma of therapy; her complex relationship with her own physical body; the pain of dating when men say they don’t ‘see color’; being a black visitor in Russia; the specter of ‘the fast-tailed girl’ and the paradox of black female sexuality; or disabled black women in the context of the ‘Black Girl Magic’ movement.” (Sonya)
Mouths Don’t Speak by Katia D. Ulysse: In Drifting, Ulysse’s 2014 story collection, Haitian immigrants struggle through New York City after the 2010 earthquake that destroyed much of their county. In her debut novel, Ulysse revisits that disaster with a clearer and sharper focus. Jacqueline Florestant is mourning her parents, presumed dead after the earthquake, while her ex-Marine husband cares for their young daughter. But the expected losses aren’t the most serious, and a trip to freshly-wounded Haiti exposes the way tragedy follows class lines as well as family ones. (Kaulie)
The Sky Is Yours by Chandler Klang Smith: Smith’s The Sky Is Yours, is a blockbuster of major label debuts. The dystopic inventiveness of this genre hybrid sci-fi thriller/coming of age tale/adventure novel has garnered comparisons to Gary Shteyngart, David Mitchell and Ridley Scott’s Blade Runner. And did I mention? It has dragons, too, circling the crumbling Empire Island, and with them a fire problem (of course), and features a reality TV star from a show called Late Capitalism’s Royalty. Victor LaValle calls The Sky Is Yours “a raucous, inventive gem of a debut.” Don’t just take our word for it, listen to an audio excerpt. (Anne)
Everything Here Is Beautiful by Mira T. Lee: Spanning cultures and continents, Lee’s assured debut novel tells the story of two sisters who are bound together and driven apart by the inescapable bonds of family. Miranda is the sensible one, thrust into the role of protector of Lucia, seven years younger, head-strong, and headed for trouble. Their mother emigrated from China to the U.S. after the death of their father, and as the novel unfurls in clear, accessible prose, we follow the sisters on journeys that cover thousands of miles and take us into the deepest recesses of the human heart. Despite its sunny title, this novel never flinches from big and dark issues, including interracial love, mental illness and its treatment, and the dislocations of immigrant life. (Bill)
The Infinite Future by Tim Wirkus: I read this brilliant puzzle-of-a-book last March and I still think about it regularly! The Infinite Future follows a struggling writer, a librarian, and a Mormon historian excommunicated from the church on their search for a reclusive Brazilian science fiction writer. In a starred review, Book Page compares Wirkus to Jonathan Lethem and Ron Currie Jr., and says the book “announces Wirkus as one of the most exciting novelists of his generation.” I agree. (Edan)
The Job of the Wasp by Colin Winnette: With Winnette’s fourth novel he proves he’s adept at re-appropriating genre conventions in intriguing ways. His previous book, Haint’s Stay, is a Western tale jimmyrigged for its own purposes and is at turns both surreal and humorous. Winnette’s latest, The Job of the Wasp, takes on the Gothic ghost novel and is set in the potentially creepiest of places—an isolated boarding school for orphaned boys, in the vein of Robert Walser’s Jakob von Gunten, Jenny Erpenbeck’s The Old Child, or even Charles Dickens’s Oliver Twist. “Witty and grisly” according to Kelly Link, strange and creepy, Job of the Wasp reveals Winnette’s “natural talent” says Patrick deWitt. (Anne)
Brass by Xhenet Aliu: In what Publishers Weekly calls a “striking first novel,” a daughter searches for answers about the relationship between her parents, a diner waitress from Waterbury, Conn. and a line cook who emigrated from Albania. Aliu writes a story of love, family, and the search for an origin story, set against the decaying backdrop of a post-industrial town. In a starred review, Kirkus writes “Aliu’s riveting, sensitive work shines with warmth, clarity, and a generosity of spirit.” (Lydia)
The Immortalists by Chloe Benjamin: Four adolescent sibling in 1960s New York City sneak out to see a psychic, who tells each of them the exact date they will die. They take this information with a grain of salt, and keep it from each other, but Benjamin’s novel follows them through the succeeding decades, as their lives alternately intertwine and drift apart, examining how the possible knowledge of their impending death affects how they live. I’m going to break my no-novels-about-New-Yorkers rule for this one. (Janet)
King Zeno by Nathaniel Rich: This historical thriller features an ax-wielding psychopath wreaking havoc in the city of Sazeracs. It’s been eight years since Rich moved to New Orleans, and in that time, he’s been a keen observer, filing pieces on the city’s storied history and changing identity for various publications, not least of all The New York Review of Books. He’s certainly paid his dues, which is vitally important since the Big Easy is an historically difficult city for outsiders to nail without resorting to distracting tokenism (a pelican ate my beignet in the Ninth Ward). Fortunately, Rich is better than that. (Nick M.)
The Monk of Mokha by Dave Eggers: Eggers returns to his person-centered reportage with an account of a Yemeni-American man named Mokhtar Alkhanshali’s efforts to revive the Yemeni tradition of coffee production just when war is brewing. A starred Kirkus review calls Eggers’s latest “a most improbable and uplifting success story.” (Lydia)
In Every Moment We Are Still Alive by Tom Malmquist (translated by Henning Koch): A hit novel by a Swedish poet brought to English-reading audiences by Melville House. This autobiographical novel tells the story of a poet whose girlfriend leaves the world just as their daughter is coming into it–succumbing suddenly to undiagnosed leukemia at 33 weeks. A work of autofiction about grief and survival that Publisher’s Weekly calls a “beautiful, raw meditation on earth-shattering personal loss.” (Lydia)
Peculiar Ground by Lucy Hughes-Hallett: The award-winning British historian (The Pike: Gabriele D’Annunzio, Poet, Seducer and Preacher of War) makes her fiction debut. Narrated by multiple characters, the historical novel spans three centuries and explores the very timely theme of immigration. Walls are erected and cause unforeseen consequences for both the present and futurey. In its starred review, Kirkus said the novel was “stunning for both its historical sweep and its elegant prose.” (Carolyn)
Neon in Daylight by Hermione Hoby: A novel about art, loneliness, sex, and restless city life set against the backdrop of Hurricane Sandy-era New York, Neon in Daylight follows a young, adrift English catsitter as she explores the galleries of New York and develops an infatuation with a successful writer and his daughter, a barista and sex-worker. The great Ann Patchett called Hoby “a writer of extreme intelligence, insight, style and beauty.” (Lydia)
This Could Hurt by Jillian Medoff: Medoff works a double shift: when she isn’t writing novels, she’s working as a management consultant, which means, as her official bio explains, “that she uses phrases like ‘driving behavior’ and ‘increasing ROI’ without irony.” In her fourth novel, she turns her attention to a milieu she knows very well, the strange and singular world of corporate America: five colleagues in a corporate HR department struggle to find their footing amidst the upheaval and uncertainty of the 2008-2009 economic collapse. (Emily)
The Afterlives by Thomas Pierce: Pierce’s first novel is a fascinating and beautifully rendered meditation on ghosts, technology, marriage, and the afterlife. In a near-future world where holograms are beginning to proliferate in every aspect of daily life, a man dies—for a few minutes, from a heart attack, before he’s revived—returns with no memory of his time away, and becomes obsessed with mortality and the afterlife. In a world increasingly populated by holograms, what does it mean to “see a ghost?” What if there’s no afterlife? On the other hand, what if there is an afterlife, and what if the afterlife has an afterlife? (Emily)
Grist Mill Road by Christopher J. Yates: The follow-up novel by the author of Black Chalk, an NPR Best of the Year selection. Yates’s latest “Rashomon-style” literary thriller follows a group of friends up the Hudson, where they are involved in a terrible crime. “I Know What You Did Last Summer”-style, they reconvene years later, with dire consequences. The novel receives the coveted Tana French endorsement: she calls it “darkly, intricately layered, full of pitfalls and switchbacks, smart and funny and moving and merciless.” (Lydia)
The Friend by Sigrid Nunez: In her latest novel, Nunez (a Year in Reading alum) ruminates on loss, art, and the unlikely—but necessary—bonds between man and dog. After the suicide of her best friend and mentor, an unnamed, middle-aged writing professor is left Apollo, his beloved, aging Great Dane. Publishers Weekly says the “elegant novel” reflects “the way that, especially in grief, the past is often more vibrant than the present.” (Carolyn)
Feel Free by Zadie Smith: In her forthcoming essay collection, Smith provides a critical look at contemporary topics, including art, film, politics, and pop-culture. Feel Free includes many essays previously published in The New Yorker and The New York Review of Books and it is divided into five sections: In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free. Andrew Solomon described the collection as “a tonic that will help the reader reengage with life.” (Zoë)
What Are We Doing Here? by Marilynne Robinson: One of my favorite literary discoveries of 2017 was that there are two camps of Robinson fans. Are you more Housekeeping or Gilead? To be clear, all of us Housekeeping people claim to have loved her work before the Pulitzer committee agreed. But this new book is a collection of essays where Robinson explores the modern political climate and the mysteries of faith, including, “theological, political, and contemporary themes.” Given that the essays come from Robinson’s incisive mind, I think there will be more than enough to keep both camps happy. (Claire)
An American Marriage by Tayari Jones: In our greatest tragedies, there is the feeling of no escape—and when the storytelling is just right, we feel consumed by the heartbreak. In Jones’s powerful new novel, Celestial and Roy are a married couple with optimism for their future. Early in the book, Jones offers a revelation about Roy’s family, but that secret is nothing compared to what happens next: Roy is arrested for a crime he didn’t commit, and sentenced to over a decade in prison. An American Marriage arrives in the pained, authentic voices of Celestial, Roy, and Andre—Celestial’s longtime friend who moves into the space left by Roy’s absence. Life, and love, must go on. When the couple writes “I am innocent” to each other in consecutive letters, we weep for their world—but Jones makes sure that we can’t look away. (Nick R.)
The Strange Bird by Jeff VanderMeer: Nothing is what it seems in VanderMeer’s fiction: bears fly, lab-generated protoplasm shapeshifts, and magic undoes science. In this expansion of his acclaimed novel Borne, which largely focused on terrestrial creatures scavenging a post-collapse wasteland, VanderMeer turns his attention upward. Up in the sky, things look a bit different. (Check out his prodigious Year in Reading here.) (Nick M.)
House of Impossible Beauties by Joseph Cassara: First made famous in the documentary Paris Is Burning, New York City’s House of Xtravaganza is now getting a literary treatment in Cassara’s debut novel—one that’s already drawing comparisons to Hanya Yanagihara’s A Little Life. The story follows teenage Angel, a young drag queen just coming into her own, as she falls in love, founds her own house and becomes the center of a vibrant—and troubled—community. Critics call it “fierce, tender, and heartbreaking.” (Kaulie)
Freshwater by Akwaeke Emezi: A surreal, metaphysical debut novel dealing with myth, mental health, and fractured selves centering around Ada, a woman from southern Nigeria “born with one foot on the other side.” She attends college in the U.S., where several internal voices emerge to pull her this way and that. Library Journal calls this “a gorgeous, unsettling look into the human psyche.” (Lydia)
Red Clocks by Leni Zumas: The latest novel from the author of The Listeners follows five women of different station in a small town in Oregon in a U.S. where abortion and IVF have been banned and embryos have been endowed with all the rights of people. A glimpse at the world some of our current lawmakers would like to usher in, one that Maggie Nelson calls “mordant, political, poetic, alarming, and inspiring–not to mention a way forward for fiction now.” (Lydia)
Heart Berries by Terese Mailhot: In her debut memoir, Mailhot—raised on the Seabird Island Indian Reservation in southwestern Canada, presently a postdoctoral fellow at Purdue—grapples with a dual diagnosis of PTSD and Bipolar II disorder, and with the complicated legacy of a dysfunctional family. Sherman Alexie has hailed this book as “an epic take—an Iliad for the indigenous.” (Emily)
Asymmetry by Lisa Halliday: 2017 Whiting Award winner Halliday has written a novel interweaving the lives of a young American editor and a Kurdistan-bound Iraqi-American man stuck in an immigration holding room in Heathrow airport. Louise Erdrich calls this “a novel of deceptive lightness and a sort of melancholy joy.” (Lydia)
Back Talk by Danielle Lazarin: long live the short story, as long as writers like Lazarin are here to keep the form fresh. The collection begins with “Appetite,” narrated by nearly 16-year-old Claudia, whose mother died of lung cancer. She might seem all grown up, but “I am still afraid of pain—for myself, for all of us.” Lazarin brings us back to a time when story collections were adventures in radical empathy: discrete panels of pained lives, of which we are offered chiseled glimpses. Even in swift tales like “Window Guards,” Lazarin has a finely-tuned sense of pacing and presence: “The first time Owen shows me the photograph of the ghost dog, I don’t believe it.” Short stories are like sideways glances or overheard whispers that become more, and Lazarin makes us believe there’s worth in stories that we can steal moments to experience. (Nick R.)
The Château by Paul Goldberg: In Goldberg’s debut novel, The Yid, the irrepressible members of a Yiddish acting troupe stage manages a plot to assassinate Joseph Stalin in hopes of averting a deadly Jewish pogrom. In his second novel, the stakes are somewhat lower: a heated election for control of a Florida condo board. Kirkus writes that Goldberg’s latest “confirms his status as one of Jewish fiction’s liveliest new voices, walking in the shoes of such deadpan provocateurs as Mordecai Richler and Stanley Elkin.” (Matt)
The Line Becomes a River by Francisco Cantú: A memoir by a Whiting Award-winner who served as a U.S. border patrol agent. Descended from Mexican immigrants, Cantú spends four years in the border patrol before leaving for civilian life. His book documents his work at the border, and his subsequent quest to discover what happened to a vanished immigrant friend. (Lydia)
Call Me Zebra by Azareen Van der Vliet Oloomi: If the driving force of Van der Vliet Oloomi’s first novel, Fra Keeler, was “pushing narrative to its limits” through unbuilding and decomposition, her second novel, Call Me Zebra, promises to do the same through a madcap and darkly humorous journey of retracing the past to build anew. Bibi Abbas Abbas Hossein is last in a line of autodidacts, anarchists, and atheists, whose family left Iran by way of Spain when she was a child. The book follows Bibi in present day as she returns to Barcelona from the U.S., renames herself Zebra and falls in love. Van der Vliet Oloomi pays homage to a quixotic mix of influences—including Miguel de Cervantes, Jorge Luis Borges, and Kathy Acker—in Call Me Zebra, which Kirkus calls “a brilliant, demented, and bizarro book that demands and rewards all the attention a reader might dare to give it.” (Anne)
Some Hell by Patrick Nathan: A man commits suicide, leaving his wife, daughter, and two sons reckoning with their loss. Focused on the twinned narratives of Colin, a middle schooler coming to terms with his sexuality, as well as Diane, his mother who’s trying to mend her fractured family, Nathan’s debut novel explores the various ways we cope with maturity, parenting, and heartbreak. (Read Nathan’s Year in Reading here.) (Nick M.)
The Wedding Date by Jasmine Guillory: If 2017 was any indication, events in 2018 will try the soul. Some readers like to find escape from uncertain times with dour dystopian prognostications or strained family stories (and there are plenty). But what about something fun? Something with sex (and maybe, eventually, love). Something Roxane Gay called a “charming, warm, sexy gem of a novel….One of the best books I’ve read in a while.” Something so fun and sexy it earned its author a two-book deal (look out for the next book, The Proposal, this fall). Wouldn’t it feel good to feel good again? (Lydia)
The Census by Jesse Ball: Novelist Ball’s nimble writing embodies the lightness and quickness that Calvino prized (quite literally, too: he pens his novels in a mad dash of days to weeks). And he is prolific, too. Since his previous novel, How to Start a Fire and Why, he has has written about the practice of lucid dreaming and his unique form of pedagogy, as well as a delightfully morbid compendium of Henry King’s deaths, with Brian Evenson. Ball’s seventh novel, The Census, tells the story of a dying doctor and his concern regarding who will care for his son with Down Syndrome, as they set off together on a cross-country journey. (Anne)
Men and Apparitions by Lynne Tillman: News of a new Tillman novel is worthy of raising a glass. Men and Apparitions is the follow-up novel to Tillman’s brilliant, ambitious American Genius: A Comedy. Men and Apparitions looks closely at our obsession with the image through the perspective of cultural anthropologist Ezekiel “Zeke” Hooper Stark. Norman Rush says, “this book is compelling and bracing and you read many sentences twice to get all the juice there is in them.” Sarah Manguso has said she is “grateful” for Tillman’s “authentically weird and often indescribable books.” I second that. (Anne)
Whiskey & Ribbons by Leesa Cross-Smith: Police officer Eamon Michael Royce is killed in the line of duty. His pregnant wife, Evi, narrates Eamon’s passing with elegiac words: “I think of him making the drive, the gentle peachy July morning light illuminating his last moments, his last heartbeat, his last breath.” Months later and wracked with grief, Evi falls for her brother-in-law Dalton: “Backyard-wandering, full-moon pregnant in my turquoise maternity dress and tobacco-colored cowboy boots. I’d lose my way. Dalton would find me. He was always finding me.” The sentences in Cross-Smith’s moving debut are lifted by a sense of awe and mystery—a style attuned to the graces of this world. Whiskey & Ribbons turns backward and forward in time: we hear Eamon’s anxieties about fatherhood, and Dalton’s continuous search for meaning in his life. “I am always hot, like I’m on fire,” Evi dreams later in the novel, still reliving her husband’s death, “burning and gasping for air.” In Cross-Smith’s novel, the past is never forgotten. (Nick R.)
The Emissary by Yoko Tawada (translated by Margaret Mitsutani): In a New Yorker essay on Tawada, author of Memoirs of a Polar Bear, Riva Galchen wrote that “often in [her] work, one has the feeling of having wandered into a mythology that is not one’s own.” Tawada’s latest disorienting mythology is set in a Japan ravaged by a catastrophe. If children are the future, what does it presage that, post-disaster, they are emerging from the womb as frail, aged creatures blessed with an uncanny wisdom? (Read her Year in Reading here.) (Matt)
The Sparsholt Affair by Alan Hollinghurst: Hollinghurst’s sixth novel has already received glowing reviews in the U.K. As the title suggests, the plot hinges on a love affair, and follows two generations of the Sparsholt family, opening in 1940 at Oxford, just before WWII. The Guardian called it “an unashamedly readable novel…indeed it feels occasionally like Hollinghurst is trying to house all the successful elements of his previous books under the roof of one novel.” To those of us who adore his books, this sounds heavenly. (Hannah)
The Chandelier by Clarice Lispector (translated by Magdalena Edwards and Benjamin Moser): Since Katrina Dodson published a translation of Lispector’s complete stories in 2015, the Brazilian master’s popularity has enjoyed a resurgence. Magdalena Edwards and Benjamin Moser’s new translation of Lispector’s second novel promises to extend interest in the deceased writer’s work. It tells the story of Virginia, a sculptor who crafts intricate pieces in marked isolation. This translation marks the first time The Chandelier has ever appeared in English (Ismail).
The Parking Lot Attendant by Nafkote Tamirat: It’s very easy to love this novel but difficult to describe it. A disarming narrator begins her account from a community with strange rules and obscure ideology located on an unnamed island. While she and her father uneasily bide their time in this not-quite-utopia, she reflects on her upbringing in Boston, and a friendship–with the self-styled leader of the city’s community of Ethiopian immigrants–that begins to feel sinister. As the story unfolds, what initially looked like a growing-up story in a semi-comic key becomes a troubling allegory of self-determination and sacrifice. (Lydia)
Let’s No One Get Hurt by Jon Pineda: A fifteen-year-old girl named Pearl lives in squalor in a southern swamp with her father and two other men, scavenging for food and getting by any way they can. She meets a rich neighbor boy and starts a relationship, eventually learning that his family holds Pearl’s fate in their hands. Publisher’s Weekly called it “an evocative novel about the cruelty of children and the costs of poverty in the contemporary South.” (Lydia)
The Merry Spinster by Mallory Ortberg: Fairy tales get a feminist spin in this short story collection inspired by Ortberg’s most popular Toast column, “Children’s Stories Made Horrific.” This is not your childhood Cinderella, but one with psychological horror and Ortberg’s signature snark. Carmen Maria Machado calls it a cross between, “Terry Pratchett’s satirical jocularity and Angela Carter’s sinister, shrewd storytelling, and the result is gorgeous, unsettling, splenic, cruel, and wickedly smart.” Can’t wait to ruin our favorite fables! (Tess)
The House of Broken Angels by Luis Alberto Urrea: Urrea is one of the best public speakers I’ve ever seen with my 35-year-old eyes, so it’s incredible that it’s not even the thing he’s best at. He’s the recipient of an American Book Award and a Pulitzer nominee for The Devil’s Highway. His new novel is about the daily life of a multi-generational Mexican-American family in California. Or as he puts it, “an American family—one that happens to speak Spanish and admire the Virgin of Guadalupe.” (Janet)
Speak No Evil by Uzodinma Iweala: Nearly 15 years after his critically-acclaimed debut novel, Beasts of No Nation, was published, Iweala is back with a story as deeply troubling. Teenagers Niru and Meredith are best friends who come from very different backgrounds. When Niru’s secret is accidentally revealed (he’s queer), there is unimaginable and unspeakable consequences for both teens. Publishers Weekly’s starred review says the “staggering sophomore novel” is “notable both for the raw force of Iweala’s prose and the moving, powerful story.” (Carolyn)
American Histories: Stories by John Edgar Wideman: Wideman’s new book is a nearly fantastical stretching and blurring of conventional literary forms—including history, fiction, philosophy, biography, and deeply felt personal vignettes. We get reimagined conversations between the abolitionist Frederick Douglass and the doomed white crusader for racial equality John Brown. We get to crawl inside the mind of a man sitting on the Williamsburg Bridge, ready to jump. We get Wideman pondering deaths in his own family. We meet Jean Michel Basquiat and Nat Turner. What we get, in the end, is a book unlike any other, the work of an American master working at peak form late in a long and magnificent career. (Bill)
Happiness by Aminatta Forna: A novel about what happens when an expert on the habits of foxes and an expert on the trauma of refugees meet in London, one that Paul Yoon raved about it in his Year in Reading: “It is a novel that carries a tremendous sense of the world, where I looked up upon finishing and sensed a shift in what I thought I knew, what I wanted to know. What a gift.” In a starred review, Publisher’s Weekly says “Forna’s latest explores instinct, resilience, and the complexity of human coexistence, reaffirming her reputation for exceptional ability and perspective.” (Lydia)
The Neighborhood by Mario Vargas Llosa (translated by Edith Grossman): The Nobel Prize winner’s latest arrives in translation from the extraordinary Edith Grossman. The Neighborhood is symphonic, a “thriller,” if you can call it that, about a detective whose wife gets roped into a debilitating situation. It is set in Llosa’s 1990s Peru, and you see this place with its paradox of grayness and color, juxtaposed with spots of blood. Two women married to very affluent men are having a lesbian affair, and one of their husbands, Enrique, is being blackmailed. When he fails to meet a photo magazine editor’s demands, he is slandered with photos of an erotic encounter on the front pages of the magazine. These two threads will converge at a point of explosion as is wont with Llosa’s novels. While this may not be his best work, it will keep readers reading all the way. (Chigozie)
My Dead Parents by Anya Yurchyshyn: Sometimes truth is more fascinating than fiction. Such is the case with Yurchyshyn’s My Dead Parents, which started as an anonymous Tumblr blog where the author posted photos and slivers of her parents’ correspondences in an attempt to piece together the mystery of their lives. Yurchyshyn’s father was a banker who died in Ukraine in a car “accident” that was possibly a hit when she was 16, and years later, though not many, her mother succumbed to alcoholism. Her parents made an enviously handsome couple, but they lived out Leo Tolstoy’s adage of each family being unhappy in its own way. Yurchyshyn’s tale is one of curiosity and discovery; it’s also an inquiry into grief and numbness. Her Buzzfeed essay, “How I Met My Dead Parents,” provides an apt introduction. (Anne)
The Last Watchman of Old Cairo by Michael David Lukas: Year in Reading alum and author of The Oracle of Stamboul explores the history of Cairo’s Ben Ezra Synagogue (site of the famous Cairo Geniza document trove discovered in the nineteenth century) through the story of its generations of Muslim watchmen as gleaned by their modern-day, Berkeley-dwelling scion. Rabih Alameddine calls it “a beautiful, richly textured novel, ambitious and delicately crafted…a joy.” (Lydia)
Bury What We Cannot Take by Kirstin Chen: This is an atmospheric novel of betrayal and ardent allegiance to ideology and political choices. When young Ah Liam decides it’s virtuous to report the resistance of his grandmother to Maoist rule to the authorities, he unravels his family with his own hands. His decision leads to the family having to flee the country and for them to have to make a decision: leave a fraction of the family behind or face greater harm. With its striking title about the sacrifice (the “burying”) of those who are left behind, the novel succeeds in drawing a very striking portrait of this turbulent period of Chinese history. (Chigozie)
Memento Park by Mark Sarvas: Many of us who have been with The Millions for some years surely remember Sarvas’s pioneer lit blog, The Elegant Variation—and look forward to his second novel, Memento Park, 10 years after his critically acclaimed Harry, Revised. Memento Park is about art, history, Jewishness, fathers and sons: Joseph O’Neill writes pithily, “A thrilling, ceaselessly intelligent investigation into the crime known as history.” So far, Kirkus praises Sarvas for “skillful prose and well-drawn characters.” (Sonya)
Wrestling with the Devil by Ngũgĩ wa Thiong’o: Famously, Kenyan author Ngugi wrote his Gikuyu novel Devil on the Cross while serving out a prison sentence. (And he did it on toilet paper, no less.) Now, the writer whom Chimamanda Adichie calls “one of the greatest of our time” is releasing a memoir of his prison stay, begun a half-hour before he was finally released. Taking the form of an extended flashback, the memoir begins at the moment of the author’s arrest and ends, a year later, when he left prison with a novel draft. (Thom)
Stray City by Chelsey Johnson: Twenty-something artist Andrea ran away from the Midwest to Portland to escape the expectation to be a mother and create a life for herself as a queer artist. Then, confused and hurt by a break-up, she hooked up with a man—and ended up having his child. Chelsey Johnson’s debut novel, which comes after a successful run of short stories like the Ploughshares Solo “Escape and Reverse,” is a humorous and heartfelt exploration of sexual identity and unconventional families. (Ismail)
The Female Persuasion by Meg Wolitzer: Wolitzer is one of those rare novelists who is able to capture the zeitgeist. Her follow up to The Interestings, The Female Persuasion centers around Greer Kadetsky, who is a freshman in college when she meets Faith Frank, an inspiring feminist icon who ignites Greer’s passions. After graduation, Greer lands a job at Frank’s foundation and things get real. Wolitzer is a master weaver of story lines and in this novel she brings four together as the characters search for purpose in life and love. As the starred review in Publisher’s Weekly says, this novel explores, “what it is to both embrace womanhood and suffer because of it.” Amen sister. (Claire)
The Recovering by Leslie Jamison: The bestselling author of The Empathy Exams brings us The Recovering, which explores addiction and recovery in America, in particular the stories we tell ourselves about addiction. Jamison also examines the relationship many well-known writers and artists had with addiction, including Amy Winehouse, Billie Holiday, Raymond Carver, David Foster Wallace, and more. The Recovering has received advance praise from Stephen King, Vivian Gornick, and Anne Fadiman. Chris Kraus described the The Recovering as “a courageous and brilliant example of what nonfiction writing can do.” (Zoë)
Circe by Madeline Miller: It took Miller 10 years to write her Orange Prize-winning debut novel, The Song of Achilles. Happily, we only had to wait another five for Circe, even more impressive when one considers that the novel’s story covers millennia. Here Miller again invokes the classical world and a massive cast of gods, nymphs, and mortals, but it’s all seen through the knowing eyes of Circe, the sea-witch who captures Odysseus and turns men into monsters. (Kaulie)
America Is Not the Heart by Elaine Castillo: As we enter year two of the Donald Trump presidency, Castillo’s first novel challenges readers to look beyond the headlines to grasp the human dimension of America’s lure to immigrants in this big-hearted family saga about three generations of Filipina women who struggle to reconcile the lives they left behind in the Philippines with the ones they are making for themselves in the American suburbs. (Michael)
You Think It, I’ll Say It by Curtis Sittenfeld: Is Sittenfeld a serious literary novelist who dabbles in chick lit? Is she a writer of frothy beach reads who happens to have an MFA from Iowa? Do such distinctions still have any meaning in today’s fiction market? Readers can decide for themselves when Sittenfeld publishes her first story collection, after five novels that have ranged from her smash debut Prep to American Wife, her critically acclaimed “fictional biography” of former First Lady Laura Bush. (Michael)
Varina by Charles Frazier: Returning to the setting of his NBA winning Cold Mountain, Frazier taps into the American Civil War, specifically the life of Varina Howell Davis, the teenage bride of Jefferson Davis, president of the Confederacy. In this personal tragedy set in an epic period of American history, Frazier examines how “being on the wrong side of history carries consequences” regardless of one’s personal degree of involvement in the offense. Something to think about. (Il’ja)
Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean: You’ve been reading Dean’s reviews and journalism for some time at The Nation, The Guardian, Buzzfeed, The New Yorker, Slate, Salon The New Republic, et alia. Winner of the 2016 NBCC’s Nona Balakian Citation for Excellence in Reviewing, Dean is debuting her first book with apt timing: Sharp features intertwining depictions of our most important 20th-century female essayists and cultural critics—Susan Sontag, Dorothy Parker, Hannah Arendt, Pauline Kael, Rebecca West, Janet Malcolm, Joan Didion, and others. A hybrid of biography, literary criticism, and cultural history, Sharp has been praised and starred by PW as “stunning and highly accessible introduction to a group of important writers.” (Sonya)
How to Write an Autobiographical Novel by Alexander Chee: In addition to receiving a starred review—and being named a Top 10 Essay Collection of Spring 2018—by Publishers Weekly, Chee’s essay collection explores a myriad of topics that include identity, the AIDS crisis, Trump, tarot, bookselling, art, activism, and more. Ocean Vuong described the book as “life’s wisdom—its hurts, joys and redemptions—salvaged from a great fire.” (Zoë)
Disoriental by Négar Djavadi (translated by Tina Kover): From the waiting room of a French fertility clinic, a young woman revisits the stories of generations of her Iranian ancestors culminating in her parents, who brought her to France when she was 10. This French hit, published in English by Europa Editions, is called “a rich, irreverent, kaleidoscopic novel of real originality and power” by Alexander Maksik. (Lydia)
Heads of the Colored People by Nafissa Thompson-Spires: A debut collection of stories exploring black identity and middle-class life in so-called “post-racial” America, with storylines ranging from gun violence and depression to lighter matters like a passive-aggressive fight between the mothers of school kids. George Saunders called these stories “vivid, fast, funny, way-smart, and verbally inventive.” (Lydia)
Black Swans by Eve Babitz: Until last year, Babitz was an obscure writer who chronicled hedonistic Los Angeles in the 1960s and 1970s. And then Counterpoint and NYRB Classics began reissuing her memoirs and autofiction, and word of Babitz’s unique voice began to spread. In The New Yorker, Jia Tolentino wrote, “On the page, Babitz is pure pleasure—a perpetual-motion machine of no-stakes elation and champagne fizz.” Novelist Catie Disabato asserts that Babitz “isn’t the famous men she fucked or the photographs she posed in. She is the five books of memoir and fiction she left behind for young women, freshly moved to Los Angeles, to find.” Black Swans is the latest in these recent reissues. Published in 1993, these stories/essays cover everything from the AIDS crisis to learning to tango. And, of course, the Chateau Marmont. (Edan)
Look Alive Out There by Sloane Crosley: Crosley, author of the New York Times bestselling essay collection I Was Told There’d Be Cake, returns with a new collection of essays. Ten years removed from her debut, Crosley takes on issues ranging from the pressures of fertility, to swingers, to confronting her own fame. Look Alive promises to be a worthwhile follow-up to Crosley’s 2011 collection How Did You Get This Number?. (Ismail)
The Only Story by Julian Barnes: Give this to Barnes: the Man Booker laureate’s not afraid of difficult premises. In his 13th novel, a college student named Paul spends a lazy summer at a tennis club, where he meets a middle-aged woman with two daughters around his age. Soon enough, the two are having an affair, and a flash-forward to a much-older Paul makes clear it upended their lives. (Thom)
Blue Self-Portrait by Noémi Lefebvre (translated by Sophie Lewis): In this torrential inner monologue out from Oakland publisher Transit Books, a woman reflects on music, politics and her affair with a musician, a pianist obsessed with the 1910 self-portrait painted by Arnold Schoenberg, a haunting, blue-tinted work in which the composer’s“expression promised nothing positive for the art of the future, conveyed an anxiety for the future, looked far beyond any definition of the work of art or of the future.” (Matt)
How to Be Safe by Tom McCallister: This novel, by the author of The Young Widower’s Handbook, is billed as We Need to Talk About Kevin meets Dept. of Speculation—those are two of my favorite books! Also? Tom McCallister…is a man! Although high school English teacher Anna Crawford is quickly exonerated after being named a suspect in a campus shooting, she nevertheless suffers intense scrutiny in the wake of the tragedy. As the jacket copy says, “Anna decides to wholeheartedly reject the culpability she’s somehow been assigned, and the rampant sexism that comes with it, both in person and online.” Of the book, novelist Amber Sparks writes, “It’s so wonderful—so furious and so funny and urgent and needed in this mad ugly space we’re sharing with each other.” Author Wiley Cash calls McCallister “an exceptionally talented novelist.” (Edan)
Warlight by Michael Ondaatje: From internationally acclaimed, bestselling author of The English Patient and Divisidero among his other works, this new novel from Ondaatje is set in the decade after World War II. When their parents move to Singapore, 14-year-old Nathaniel and his older sister, Rachel, are left in London under the watchful eye of a mysterious figure called The Moth. As they become immersed in his eccentric circle of friends, they are both protected and educated in confusing ways. The mystery deepens when their mother returns months later without their father, but gives them no explanation. Years later, Nathaniel begins to uncover the story through a journey of facts, recollection, and imagination. If only Anthony Minghella were still with us to make the movie. (Claire)
The Mars Room by Rachel Kushner: In her third novel, two-time National Book Award-finalist Kushner writes about a woman named Romy Hall who is serving two consecutive life sentences (plus six years) in a prison in California’s Central Valley. The year is 2003, and the Mars Room in the title refers to a strip club in San Francisco where Romy used to dance; according to the jacket copy, Kushner details “the deadpan absurdities of institutional living…with humor and precision.” George Saunders calls Kushner “a young master” and Robert Stone wrote that she is “a novelist of the very first order.” Check out this short excerpt published by Entertainment Weekly. (Edan)
Some Trick by Helen DeWitt: If you periodically spend afternoons sitting around wondering when you will get to read something new by DeWitt, this is your season. In May we get 13 stories from the brilliant writer who brought us The Last Samurai—one of the best books of this or any millennium—and the evilly good Lightning Rods. In this collection DeWitt will evidently apply her mordant virtuosity to territory ranging from statistics to publishing. (Lydia)
Motherhood by Sheila Heti: Heti’s previous two books have created and followed lines of inquiry—with Misha Glouberman she wrote a book of conversational philosophy, The Chairs Are Where People Go. Heti’s novel How Should a Person Be? is an early work of autofiction that delves deep into art-making and friendship. Some called it a literary form of reality TV, making James Wood’s backhanded assessment of the book as both “unpretentious” and “narcissistic” quite the unintentional compliment. Heti’s new novel Motherhood follows in a similar line of existential questioning—the narrator approaches the topic of motherhood, asking not when but if she should endeavor to become a mother at all. (Anne)
That Kind of Mother by Rumaan Alam: “Just because something is natural doesn’t mean it’s easy.” Priscilla Johnson says those words to Rebecca Stone early in Alam’s novel. Rebecca’s just given birth to her son Jacob, and the novel’s first scene feels both dizzying and precise—a visceral reminder of life’s complex surprises. Priscilla is the hospital staffer who most calms Rebecca’s anxieties, so much that she asks Priscilla to be Jacob’s nanny. A few years later, Priscilla’s own pregnancy ends in heartbreak. Rebecca’s decision to adopt Andrew is complex: she loves and misses Priscilla, and dearly loves this boy, but is she ready for the reality of raising a black son as a white mother? Alam’s sharp narrative asides—lines like “Some percentage of the things she did for the children were actually for her”—carry such weight and truth that we trust his route toward the bigger question of the book: are we ever ready for the pain and joy that life delivers us? (Nick R.)
Adjustment Day by Chuck Palahniuk: Four years since publishing his last novel, Palahniuk returns in the era of fake news, obvious government corruption, and widespread despair. (It’s as though the protagonists in his most famous novels were right from the start.) In Adjustment Day, these themes weave together in the form of a mysterious day of reckoning orchestrated by an out of touch, aging group of elected officials. (Nick M.)
Last Stories by William Trevor: Prior to his death in November 2016, Trevor told a friend that the book he was working on would be called Last Stories. That is this book—the last we will ever have from the Irish author. Six of the 10 stories included here have never been published before, and what preview would be sufficient? Perhaps just this: if the engine of accomplished fiction truly is empathy, then you will be hard pressed to uncover a finer practitioner of the core humanity that inspired and inspires this deliberate, and personal, epitaph. RIP. (Il’ja)
MEM by Bethany Morrow In this debut novel set in a speculative past, a Montreal-based scientist discovers a way to extract memories from people, resulting in physical beings, Mems, who are forced to experience the same memory over and over. Complications ensue when one of the Mems, Dolores Extract #1, begins to make and form her own memories. (Hannah)
And Now We Have Everything by Meaghan O’Connell: O’Connell’s memoir—her first book—is here to remedy the “nobody tells you what it’s really like” refrain of new mothers. Giving birth to her son in her 20s, after an unplanned pregnancy, O’Connell chronicles the seismic changes that happened to her body, routine, social life, and existential purpose before she knew what was coming. All the cool moms of literary twitter (including Edan!) are raving. (Janet)
The Ensemble by Aja Gabel: A novel about art and friendship and the fraught world of accomplished musicians—four young friends who comprise a string quartet. Mat Johnson said Gabel’s novel “deserves a standing ovation.” For a taste of Gabel’s prose, read her Best American Essays-notable piece on grief and eating ortolans in France. (Lydia)
The Lost Empress by Sergio De La Pava: De La Pava’s first novel, A Naked Singularity, was the rare self-published novel to receive critical acclaim, including the PEN/Bingham Prize. The Lost Empress is as ambitious as his first, a 672-page doorstopper that takes on both football and the criminal justice system. The novel has a large cast, but centers on two characters: Nina Gill, the daughter of the owner of the Dallas Cowboys, and presumed heir to the franchise; and Nuno DeAngeles, “a brilliant criminal mastermind,” who gets himself thrown into prison in order to commit a crime. (Hannah)
A Lucky Man by Jamel Brinkley: New York-bred writer Brinkley (and Year in Reading alum) delivers this anticipated debut story collection. Ranging from encounters on the New York subway to a young boy’s first encounter with the reality of racial hierarchy, these sensitive and probing stories promise to captivate. If you’ve read Brinkley’s title story “A Lucky Man” in A Public Space, then you know that he’s a talent to watch. (Ismail)
Belly Up by Rita Bullwinkel: Bullwinkel’s stories are fantastic and fabulist feats that (often) address our messy, cumbersome bodies in thrilling and imaginative ways. For example: in lieu of a bra, a man is hired to support a daughter’s breasts; a woman whose plastic surgeon, when fixing her eyes, leaves her with a turkey neck (not literally but); twin brothers Gleb and Oleg, surgeon and sculptor, live in a prison infirmary and perform a thumb transplant. A compelling new voice, Bullwinkel has had stories in Tin House, Guernica, and Noon. Her first book, the story collection Belly Up, will be published by A Strange Object. (Anne)
The Pisces by Melissa Broder: You may know Broder because of her incredible So Sad Today tweets. If you do, you won’t be surprised to hear about her novel, The Pisces, which follows a Ph.D student in love with a Californian merman. The student, Lucy, has a breakdown after nine years of grad school, which compels her Angeleno sister to invite her to dogsit at her place. On the beach, a merman appears, and Lucy embarks on a romance that seems impossible. (Thom)
Kudos by Rachel Cusk: When I first encountered Cusk’s writing in the mid-aughts I wrote her off as an author of potentially tedious domestic drama. I was woefully wrong. It’s true Cusk is a chronicler of the domestic: she is as known for her memoirs of motherhood and divorce as she is for her novels, but her writing is innovative, observant, and bold. The New Yorker declared that with the trilogy that her latest novel Kudos completes, Cusk has “renovated” the novel, merging fiction with oral history, retooling its structure. Cusk has said: “I’ve never treated fiction as a veil or as a thing to hide behind, which perhaps was, not a mistake exactly, but a sort of risky way to live.” (Anne)
A Suitable Girl by Vikram Seth: Reportedly delayed by writer’s block brought on by a breakup, Seth has finally produced the much-anticipated sequel to his international smash of 1993, A Suitable Boy. That novel, a gargantuan epic set in post-independence India in the 1950s, was a multi-family saga built around the pursuit of a suitable husband in a world of arranged marriages. In the “jump sequel,” the original protagonist is now in her 80s and on the prowl for a worthy bride for her favorite grandson. Though best-known for A Suitable Boy, the versatile Seth has produced novels, poetry, opera, a verse novel, a travel book, and a memoir. (Bill)
Florida by Lauren Groff: After collecting fans like Barack Obama with her bestselling novel Fates and Furies, Groff’s next book is a collection of short stories that center around Florida, “the landscape, climate, history, and state of mind.” Included is ”Dogs Go Wolf,” the haunting story that appeared in The New Yorker earlier in the year. In a recent interview, Groff gave us the lay of the land: “The collection is a portrait of my own incredible ambivalence about the state where I’ve lived for twelve years...I love the disappearing natural world, the sunshine, the extraordinary and astonishing beauty of the place as passionately as I hate the heat and moisture and backward politics and the million creatures whose only wish is to kill you.” (Claire)
There There by Tommy Orange: Set in Oakland, Orange’s novel describes the disparate lives that come together for the Oakland Powwow and what happens to them when they get there. In an extraordinary endorsement, Sherman Alexie writes that Orange’s novel “is truly the first book to capture what it means to be an urban Indian—perhaps the first novel ever to celebrate and honor and elevate the joys and losses of urban Indians. You might think I’m exaggerating but this book is so revolutionary—evolutionary—that Native American literature will never be the same.” (Lydia)
Upstate by James Wood: It’s been 15 years since Wood’s first novel, The Book Against God, was published. What was Wood doing in the meantime? Oh, just influencing a generation of novelists from his perch at The New Yorker, where his dissecting reviews also functioned as miniature writing seminars. He also penned a writing manual, How Fiction Works. His sophomore effort concerns the Querry family, who reunite in upstate New York to help a family member cope with depression and to pose the kinds of questions fiction answers best: How do people get through difficulty? What does it mean to be happy? How should we live our lives? (Hannah)
The Great Believers by Rebecca Makkai: This third novel from the acclaimed author of The Borrower and The Hundred-Year House interlaces the story of an art gallery director whose friends are succumbing to the AIDS epidemic in 1980s Chicago with a mother struggling to find her estranged daughter 30 years later in contemporary Paris. “The Great Believers is by turns funny, harrowing, tender, devastating, and always hugely suspenseful,” says Margot Livesey, author of Mercury. (Michael)
Good Trouble by Joseph O’Neill: Frequent New Yorker and Harper’s readers will know that O’Neill has been writing a lot of short fiction lately. With the new Good Trouble, the Netherland author now has a full collection, comprised of 11 off-kilter, unsettling stories. Their characters range from a would-be renter in New York who can’t get anyone to give him a reference to a poet who can’t decide whether or not to sign a petition. (Thom)
Number One Chinese Restaurant by Lillian Li: A family chronicle, workplace drama, and love story rolled into one, Li’s debut chronicles the universe of the Beijing Duck House restaurant of Rockville, Md., run by a family and long-time employees who intertwine in various ways when disaster strikes. Lorrie Moore raves, “her narratives are complex, mysterious, moving, and surprising.” (Lydia)
SICK by Porochista Khakpour: In her much anticipated memoir SICK, Khakpour chronicles her arduous experience with illness, specifically late-stage Lyme disease. She examines her efforts to receive a diagnosis and the psychological and physiological impact of being so sick for so long, including struggles with mental health and addiction. Khakpour’s memoir demonstrates the power of survival in the midst of pain and uncertainty. (Zoë)
Fight No More by Lydia Millet: Millet’s 2010 collection Love in Infant Monkeys was a Pulitzer Prize finalist. Eight years later she’s released another collection of stories arranged around a real estate broker and their family as they struggle to reconnect. Millet’s satire is well-known for it’s sharp brutality—and its compassionate humanity. Both sides are on full display here. (Kaulie)
Tonight I’m Someone Else by Chelsea Hodson: Examining the intersection of social media and intimacy, the commercial and the corporeal, the theme of Hodson’s essay collection is how we are pushed and pulled by our desire. The Catapult teacher’s debut has been called “racingly good…refreshing and welcome” by Maggie Nelson. (Tess)
Invitation to a Bonfire by Adrienne Celt: On the heels of her critically praised debut, The Daughters, Celt gives us a love-triangle story that, according to the publisher, is “inspired by the infamous Nabokov marriage, with a spellbinding psychological thriller at its core.” The protagonist is a young Russian refugee named Zoya who becomes entangled with her boarding school’s visiting writer, Leo Orlov, and his imperious wife, Vera. Our own Edan Lepucki praised the novel as “a sexy, brilliant, and gripping novel about the fine line between passion and obsession. I am in awe of Celt’s mastery as a prose stylist and storyteller; I can’t stop thinking about this amazing book.” (Sonya)