Must-Read Poetry: December 2018

Here are four notable books of poetry publishing in December. Who is Mary Sue? by Sophie Collins Before the core of this book—a sequence that considers the pristine “Mary Sue,” a female character in fan fiction who often seems to be the “author’s idealized self”—Collins includes a gorgeous prose poem. “Sister, listen to me—tonight our father will pull open the heavy door of our home, walk with his large boots into the kitchen and drop a pig on the table. In the morning, peasants with children and glassy-eyed babies will enter, sniffing at us like animals, noting the absence of a mother who lays out cold plates, white bread.” It is folkloric, surreal, and suggestive of a poet who can channel new energies. In “The Engine” sequence, Collins writes: “On my walks I began to notice more bonfires than ever before. I was reluctant to speculate on a cause, but the hillside fields were plainly covered in scabs.” Sleepless and suffering, the narrator heads into the cold. She gets a tick bite. She finds “an empty shed with unbroken windows,” and sleeps in a dog bed. She dreams of dogs, and awakens to “a mongrel with cataracts” that “stayed looking for a moment before leaving, unhurried.” Somewhere among these dreams, nightmares, and fantasies Collins hits a spiritual longing, a place where bodies are not enough. From “A Course in Miracles”: “Sometimes a divinity is more / than a mortal can stand.” Collins’s debut is inventive, unique, dynamic. Silence, Joy by Thomas Merton In 1940, Merton’s mentor Mark Van Doren sent the monk’s first manuscript to James Laughlin, publisher of New Directions. Thirty Poems was published in 1944, and ever since then New Directions—admirably, and thankfully—has continued to publish Merton’s poetry and prose. Silence, Joy is pocket-sized, but bursting with what made Merton great: he could be simultaneously dark and audaciously sentimental. So many of his lines ring perfectly true, even 50 years after his death. “For me to be a saint means to be myself,” he offers. In “Trappists, Working”: “Now all our saws sing holy sonnets in this world of timber / Where oaks go off like guns, and fall like cataracts, / Pouring their roar into the woods.” I admit to carrying this book around, sneaking glances to keep me honest: “We live in the time of no room, which is the time of the end. The time when everyone is obsessed with lack of time, lack of space, with saving time, conquering space, projecting into time and space the anguish produced within them by the technological furies of size, volume, quantity, speed, number, price, power and acceleration.” We all need a voice like Merton, whose prose-poetic vignettes pair nicely with his sincere lines: “I am earth, earth // Out of my grass heart / Rises the bobwhite. // Out of my nameless weeds / His foolish worship.” Petty Theft by Nicholas Friedman “And so they reveled in self-luminescence, / sneezed lightning through the pitch of bedroom sky / and glowed like faint auroras in their beds.” “Undark,” a poem that memorializes the fate of factory workers poisoned by radium, captures Friedman’s distinctive style: his phrases turn on the porous border between the lush and barren, between the lyric and corroded. “Fear only turns the key on what it knows,” the narrator notes, as one woman “daubed her teeth to spook a lover / in the grin-lit dark.” A few poems in, and I’m already in Friedman’s poetic trust, ready for the switches and swivels of poems like “In Flight”: “the plane quakes suddenly / and dips us like a bobber. A light dings on. / I count the smooth blue seats, doing the math / they’ll use to make a headline out of us.” Dazed, chomping on peanuts, mishearing the flight attendant, the narrator looks out the window: “a river has bunched itself / into omegas, blinding where the sun / moves over them—while here, above all that, / the body shudders, and carries us along.” Friedman extracts the poetic out of the pungent, as in “A Cut Path,” when a couple feels a bit lost on a California trail: “The cows stand frozen / in portrait below, casting their doubts down the slope. / For us, a bit of wishful thinking has made / this hill a mountain, and we are now descending.” A strong, skillful debut. Collected Poems of Robert Bly When asked about Silence in the Snowy Fields (1962), his first collection, Bly said “myth brings up a mystery that the rational mind doesn’t really faze.” Bly’s Collected Poems begins with that volume, and that Midwestern mythos. In “Three Kinds of Pleasures”: “Sometimes, riding in a car, in Wisconsin / Or Illinois, you notice those dark telephone poles / One by one lift themselves out of the fence line / And slowly leap on the gray sky— / And past them, the snowy fields.” The haunting chill of “Hunting Pheasants in a Cornfield”: “What is so strange about a tree alone in an open field? / It is a willow tree. I walk around and around it. / The body is strangely torn, and cannot leave it. / At last I sit down beneath it.” Bly would emerge from his snowbound self for The Light Around the Body (1967), marked by poems of activism and frustration, yet also including introspective pieces like “Melancholia”: “There is a wound on the trunk / Where the branch was torn off. / A wind comes out of it, / Rising, swelling, / Swirling over everything alive.” A decade later, Bly would write to Tomas Tranströmer: “Poems are best when there are incredible mysteries in them.” Bly’s Collected Poems are full of these incredible mysteries, on to his final works, as in “Longing”: “The old man lying in bed writing poems / Feels his brain light up, and he knows / That in some odd way he is approaching heaven. [millions_ad]

December Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month (the last of 2018!). Find more December titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! North of Dawn by Nuruddin Farah: Farah has been writing about the world’s greatest catastrophes for years, and his novels, especially Hiding in Plain Sight, have been about the tragedy that accompanies the loss of one’s original country. That strong theme is the centrifugal force of this novel about a calm home engulfed when a son leaves quiet and peaceful Oslo to die back in Somalia. His widow and children return to Norway to live with his parents, and in bringing their devoted religiosity with them, threaten to explode the family once again. Farah is a master of shifts and turns, so this novel promises to be among the year’s most exciting publications. (Chigozie) Revolution Sunday by Wendy Guerra (translated by Achy Obejas): Translated for the first time into English, internationally bestselling novelist Guerra’s book follows a writer from Cuba to Spain, where her expat compatriots assume she is a spy for Castro. Back home in Cuba, she is treated with equal suspicion by her government. (Lydia)   America and Other Fictions by Ed Simon: In a collection of essays, Millions staffer writes about the complicated history of religion in America—especially in the context of this particular moment of cultural and political crisis. Simon touches on everything from mortality, legacies of American violence, Walt Whitman, Bob Dylan, and the need for an Augustinian left. About the collection, writer Tom Bissel wrote: "His goal as an essayist is a kind of secular reenchantment of the old, dead creeds—to acknowledge, and cherish, truths that go deeper than mere belief. Most remarkable of all is how often he succeeds." (Carolyn) The Day the Sun Died by Yan Lianke (translated by Carlos Rojas): Winner of the Dream of the Red Chamber Award, Lianke's newest novel takes place in a town over the course of one haunted night. In their small village, fourteen-year-old Li Niannian helps his parents run a funeral parlor. One night he notices something strange: dreamwalking neighbors are gathering outside to continue on with their daily routines, seemingly unaware it's nighttime. Over one chaotic, disturbing evening, Li Niannian and his parents must save their town from the brink of collapse. (Carolyn) The Dakota Winters by Tom Barbash: Freshly off a stint in the Peace Corps, 23-year-old Anton Winter returns to find his father, a popular night talk show host, has suffered a mental breakdown. In an effort to help reignite his father's career, Anton travels far and wide—to Lake Placid, the Hollywood Hills, the Bermuda Triangle—and rubbing elbows with the likes of Johnny Carson and John Lennon. About the book, Publisher's Weekly wrote it's "packed with diverting anecdotes and a beguiling cast, making for an immensely entertaining novel." (Carolyn) Milkman by Anna Burns: Winner of the 2018 Man Booker Prize, the novel is set in an unnamed city and focuses on middle sister, a young woman who must navigate political and social pressures in a tight-knit, paramilitary-patrolled community. In a starred review, Kirkus called it a "deeply stirring, unforgettable novel that feels like a once-in-a-generation event." (Carolyn)

Must-Read Poetry: November 2018

Here are five notable books of poetry publishing in November. Rosarium by Hannah Dow “Mother, Father, I am trying to make my way / to you, but I have found no laws proving / the logic of a body that journeys without wings.” Dow’s graceful, pensive debut brings to mind the work of Allison Seay—both poets search the ambiguity of faith for a route forward. A series of poems with “postcard” in the titles allows Dow to create crisp epistles, as in “Postcard from Gethsemane”: “We want grief to be quiet, / something we can hold / all the way up and down / the mountain without letting / on.” Or “Postcard from York, Maine”: “Home is no protection from even / the smallest storms— / the boarding up of windows, / slight tearing of the sail.” Gardens (biblical, literal) abound in Rosarium—think garden of roses; think the litany of a rosary, the beads a string of bubbles leading us (like poetic lines) to contemplation. Yet perhaps even more powerful a feeling in Dow’s collection is the sting of grief—what a fantastically sharp emotion to see authentically shaped in this age—and the worry that faith is an imperfect machine. “In early depictions, Jesus carries his cross / like it’s made of feathers, without breaking / a sweat” begins “Postcard from the Kunsthistoriches, Vienna.” Only in the Middle Ages, the narrator explains, “did artists think to emphasize / his burden.” That attempt to imbue devotion in her heart is imperfect. She does not feel “in the hostile crowd.” Instead—and this is Dow’s spiritual skill in the book—“I only feel that I’ve swallowed something / small and alive—a bird whose wings / keep gravity from drawing me to my knees.” Asymmetry by Adam Zagajewski (translated from the Polish by Clare Cavanagh) This book is steeped in longing, as in “Wake Up”: “Wake up, my soul. / I don’t know where you are, / where you’re hiding, / but wake up, please, / we’re still together, / the road is still before us, / a bright strip of dawn / will be our star.” Ever since Zagajewski’s incomparable “Try to Praise the Mutilated World,” I’ve gone to him for something near solace. He has said “poetry as literature, as language, discovers within the world a layer that has existed unobserved in reality, and by doing so changes something in our life, expands somewhat the space of what we are.” His is less a vision of poet as prophet than poet as patient observer. Poets, he writes early in Asymmetry, “understand nothing. / They listen to the whispers of broad, lowland rivers.” They “stroll along dirt roads.” Poets “bid the dead farewell, their lips move.” By placing poets as observers rather than oracles, he somehow enables them to be the latter. “Each poem, even the briefest, / may grow into a full-blown epic,” one narrator explains. The problem? Although “each poem has to speak / of the world’s wholeness; alas, our / minds are elsewhere, our lips are / thin and sift images / like Molière’s miser.” The poems of Asymmetry do both; they somehow speak so well to us, even if written to capture a single, narrow moment. [millions_ad] New Selected Poems by Thom Gunn In his introduction to this volume, editor Clive Wilmer writes that as he began publishing in the 1950s, Gunn “appeared not to have a distinctive voice. Indeed, he appears to have no wish to find one. What he aspired to achieve in poetry was something he found in Elizabethan song”—a “certain anonymity of tone.” There’s a certain grace in this impersonality; a credibility, even. From “Vox Humana”: “Being without quality / I appear to you at first / as an unkempt smudge, a blur, / an indefinite haze, mere- / ly pricking the eyes, almost / nothing. Yet you perceive me.” Gunn’s lines seduce through metered sound, yet he could also stir us, as in “The Old Woman”: “Something approaches, about / which she has heard a good deal.” She senses it; her feet feel chilled, and she has “watched it / like moonlight on the frayed wood / stealing toward her / floorboard by floorboard.” There’s a sense of poetic patience to Gunn’s lines; they are conversational, but never quite casual. The poems from his last collection, Boss Cupid (2000), are a fitting end; consider “The Artist as an Old Man”: “Vulnerable because / naked because / his own model.” Autobiography of Death by Kim Hyesoon (translated from the Korean by Don Mee Choi) Forty-nine poems; 49 days of a wandering spirit before it evolves into reincarnation. Hyesoon’s book is unnerving, profluent, immediate. She begins the first day: “On the subway your eyes roll up once. That’s eternity.” The spirit is wavering, but the body remains. An old man steals her handbag. Middle-schoolers nudge her, take photos. “Death is something that storms in from the outside”—but soon her spirit leaves behind her body, and the poems move, a dizzying arrangement of meditations on that space between here and there, flesh and forever. There’s a purgatorial sense to Autobiography of Death—the uncomfortable feel is matched by what Hyesoon has called the bane of women’s poetry in Korea, a gendered verse unknowable “until you sympathize with how women painfully go through the experience of having these tattoos carved on their bodies ... Female poets can finally step into the world of language after crossing this river of the grotesque; the words cannot gush out of their mouths until they cross the river of screams where you witness death like everyday affairs.” Autobiography of Death is a song to this grotesque sense. A spirit wandering, wailing: “Your body is now fog floating above sleep / Your face is a cloud floating above your body.” Monument: New and Selected Poems by Natasha Trethewey Trethewey is a poet to return to—we know she’s special, and then comes along the aptly titled Monument, and the evidence feels almost overwhelming. Her work is God-haunted, clothed with the small flashes of memory against despair. In “Graveyard Blues”: “It rained the whole time we were laying her down; / Rained from church to grave when we put her down.” The narrator raised her hand in witness as they lowered her mother to the ground. “I wander now among names of the dead: / My mother’s name, stone pillow for my head.” Her poetry carries the weight of a region, a world whose scars remain fresh on flesh. You can feel it in her lines, which craft a history—of Mississippi, of the South, of her family. As in “Incident,” her stories return like liturgies (selected volumes of poems allow this to happen!). “At the cross trussed like a Christmas tree, / a few men gathered, white as angels in their gowns.” Grace-filled, with the sting of honesty, Trethewey is a true poet of ceremony. Monument contains one of my favorite elegies: the poet on her father’s passing. She thinks of fishing one dark morning with him, “awkward // and heavy in our hip waders.” She catches two trout and then releases them. “I can tell you now // that I tried to take it all in, record it / for an elegy I’d write—one day— // when the time came. Your daughter, / I was that ruthless.” Many of these poems feel in his shadow, the complex song of father and daughter. She ends “Elegy” with a dream of her and him in “the small boat // that carried us out and watch the bank receding— / my back to where I know we are headed.” One of the best collected volumes published this year.

November Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Find more November titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! NOVEMBER All the Lives We Never Lived by Anuradha Roy: This is Roy’s latest offering after a powerful showing in Sleeping on Jupiter, which was longlisted for the Man Booker prize in 2015. This novel centers around Myshkin, a boy whose life is changed when his mother elopes—no, vanishes—with a German man who appears naked at a river near their house one day and insists he has come for her after first meeting her in Bali. The novel follows the anamnesis of what happened, and his ruminations on its effect on his life. Already published in Britain, the novel has been called “elegiac,” compelling, and powerful, among other things. Conceived during a time Roy spent in Bali—at a festival where I had the pleasure of meeting her in 2015—this is an affecting novel. Readers should look for a conversation between Roy and me on this site around publication date. (Chigozie) Evening in Paradise by Lucia Berlin: Can you remember a better short story collection in recent years than Berlin’s A Manual for Cleaning Women? I can’t. Maybe once a week I think about that dentist, ripping his own teeth out in front of his granddaughter. Now, Berlin’s estate is back with even more stories, this time all previously uncompiled. In the case of a less talented writer, I’d be worried about publishers scraping the barrel. But with Berlin, there are surely unplucked molars. (Nick M.)  Insurrecto by Gina Apostol: A story that takes across time and place in the Philippines, from the American occupation to the Duterte era, by the winner of the PEN Open Book Award for Gun Dealer’s Daughter. Publishers Weekly calls the novel a "pyrotechnical marvel" and named it one of the best books of 2018. (And don’t miss Apostol’s astute essay in the Los Angeles Review of Books on Francine Prose and textual appropriation.) (Lydia)   The End of the End of the Earth by Jonathan Franzen: Today Franzen is best known as a novelist—even a “Great American Novelist”—but it’s worth noting that he first appeared on many readers’ radar with his 1996 Harper’s essay “Perchance to Dream” about the difficulties of writing fiction in an age of images. Franzen’s essays, like his novels, can be a mixed bag, but he is a man perennially interested in interesting things that others overlook, such as, in this book, the global devastation of seabirds by predators and climate change. (Michael) My Sister, the Serial Killer by Oyinkan Braithwaite: As the title makes clear, the Nigerian writer Oyinkan Braithwaite’s first novel is a dark comedy of sibling rivalry. The beautiful Ayoola leads a charmed life, and thanks to the cleanup efforts of her older sister, Korede, she suffers no repercussions from killing a string of boyfriends. Korede’s loyalty is tested, however, when a man close to her heart asks out her sister. Film producers are already getting in on the fun, as Working Title has optioned what the publisher calls a “hand grenade of a novel.” (Matt) Those Who Knew by Idra Novey: Following up her debut novel, Ways to Disappear, Novey's latest tells the story of a woman who suspects a senator's hand in the death of a young woman on an unnamed island. The great Rebecca Traister says the book "speaks with uncommon prescience to the swirl around us. Novey writes, with acuity and depth, about questions of silence, power, and complicity. The universe she has created is imagined, and all too real." (Lydia) Tell Them of Battles, Kings, and Elephants by Mathias Énard (translated by Charlotte Mandell): From the author of the brilliant, Prix Goncourt-winning Compass, a work of historical fiction that follows Michelangelo to the Ottoman Empire, where he is considering a commission from the Sultan to build a bridge across the Golden Horn. The novel promises to continue Énard’s deep, humanistic explorations of the historical and ongoing connections between Europe and Asia, Islamdom and Christendom. (Lydia) The April 3rd Incident by Yu Hua (translated by Allan H. Barr): A collection of his best early stories from a pioneer in China’s 1980 avant-garde literary movement, renowned for approaching realist subject matters through unconventional techniques. In his writings, reality is punctured and estranged, leading up to a new look at things familiar. Yu Hua is one of the best acclaimed contemporary Chinese authors. His previous works include China in Ten WordsBrothers, and the stunning To Live. (Jianan) The Feral Detective by Jonathan Lethem: Charles Heist lives in a trailer in the desert outside L.A. and keeps his pet opossum in a desk drawer. Phoebe Siegler is a sarcastic motormouth looking for a friend’s missing daughter. Together, they explore California’s sun-blasted Inland Empire, searching for the girl among warring encampments of hippies and vagabonds living off the grid. In other words, we’re in Lethemland, where characters have implausible last names, genre tropes are turned inside out, and no detective is complete without a pet opossum. The Patch by John McPhee: McPhee’s seventh collection of essays is finely curated, as expected for an essayist who lives and breathes structure. Essays on the sporting life fill the first part; the second includes shorter, previously uncollected pieces. The collection’s titular essay is an elegiac classic, which begins with the pursuit of chain pickerel in New Hampshire but soon becomes an essay about his dying father. McPhee flawlessly moves from gravity to levity, as in his writing about the Hershey chocolate factory. Such pieces are tastes of his willingness to let the world around him just be and to marvel at mysteries of all variety: “Pools and pools and pools of chocolate—fifty-thousand-pound, ninety-thousand-pound, Olympic-length pools of chocolate—in the conching rooms...Slip a little spatula in there and see how it tastes. Waxy? Claggy? Gritty? Mild? Taste it soft. That is the way to get the flavor.” One wishes John McPhee would write about everything, his words an introduction to all of life’s flavors. (Nick R.) Useful Phrases for Immigrants by May-lee Chai: Winner of the Doris Bakwin Award selected by Tayari Jones, Chai's collection comprises eight stories detailing life in a globalized world. Edward P. Jones called Useful Phrases "a splendid gem of a story collection...Complementing the vivid characters, the reader has the gift of language―‘a wind so treacherous it had its own name,' 'summer days stretched taffy slow'....Chai's work is a grand event." (Lydia) A Stranger's Pose by Emmanuel Iduma: From Cassava Republic Press, a new Nigerian publishing powerhouse that recently opened up a U.S. office, comes a collection of travel essays describing the New York-residing, Nigerian-born Iduma's peregrinations through over twenty African cities (read an excerpt from the collection here at the site). "I want this book to occupy the space between home and disapora," Iduma narrates in a lovely trailer for the book. The collection also features a foreword by Teju Cole. (Lydia)   The Naked Woman by Armonía Somers (translated by Kit Maude): First published 50 years ago, this is Somers' (1914–1994) first work translated into English. The novella follows one woman's feminist awakening and the ways her transformation leads a rural village to ruin with violent desire. About the novel, Carmen Maria Machado wrote: “I am so grateful that a new generation will be able to read this surreal, nightmarish book about women’s struggle for autonomy—and how that struggle is (always, inevitably) met with violence.” (Carolyn) Death and Other Holidays by Marci Vogel: Winner of the inaugural Miami Book Fair/de Groot Prize for Best Novella, Vogel's debut follows April, the 27-year-old narrator, as she grieves her stepfather's death over the course of one year. In a starred review, Kirkus called it "a moving and graceful novella of overcoming sorrow." (Carolyn)   In/Half by Jasmin B. Frelih (translated by Jason Blake): First published in 2013 in Slovenian, Frelih's debut novel won the 2016 European Union Prize for Literature. Set twenty-five years in the future, the experimental, post-modern novel follows three millennials as they navigate a crumbling world and attempt to find their place in an unrecognizable world. Publisher's Weekly wrote the novel "sustains its ghostly, ethereal tone and will be appreciated by readers looking for a mind-bending puzzle." (Carolyn) Northwood by Maryse Meijer:  A genre-bending novella written in short, formally-transgressive passages. Imbued with myths, fairy tales, and horror, the book follows a young woman who flees to the woods to pursue her artwork and what happens when she falls in love with a violent, married man. Samantha Hunt writes "Meijer has made her own form, something new and wide-open, something as blissful and broken as the language of lovesickness itself.” (Carolyn)

Must-Read Poetry: October 2018

Here are six notable books of poetry publishing in October. The Lumberjack’s Dove by GennaRose Nethercott All praise to book-length poems. Nethercott’s yarn begins with a lumberjack who chops off his own hand. “The hand becomes a dove” and tries to fly away, but the lumberjack strings it to his belt. He “walks out of the forest, the airborne hand fluttering along behind.” The narrator tells us: “You know this story.” It’s part whisper, part command, all curiosity. How do we know this story? We know stories like it—folklore borne of the forest—and we know that our lives and souls are stories. It begins to add up. Nethercott’s narrator is gentle, quirky, playful, endearing: this is a book to read in circles around fires, under blankets, in dark and quiet room corners. Befuddled, the lumberjack wanders and wonders. He “clutches the absent space at the end of his arm.” His dove—his hand, his self—“looks back at him, already forgetting it was ever anything but sovereign.” Nethercott’s book is inventive, unique, and a welcome source of escape—or maybe inscape. The narrator frequently steps in and clears the white space of the page; these addresses are not interruptions, but soft reminders that stories are brought to us by mouths and hands. “Living creatures believe they own something as soon as they love it”: Nethercott’s book feels true as wind, a discovery worth embracing. The Arrangements by Kate Colby These are sharp elegies—not quite of the dead, but of the failures of language and connection all around us—delivered with smiles and smirks. To read “Wistless” is to miss summer, to enter the shape of mourning: “In-your-face blooms / now brown, drooped // into black / eyes of dying Susans.” In this space between seasons, we sigh: “Screen door squeaks, / buffeting whump of // unfast ceiling fan.” Colby’s columnar lines feel threaded, a lattice of letters that never feels choppy. The Arrangements carries us to someplace a little dark, a little comfortable. In “The Plunge,” we see: “Black evergreens / pre-dawn, it’s all / there before you.” In that place of “felt darkness,” there is love, picked “like splinters / of light from the light.” Colby is fresh and stirring—“Day doesn’t so much / progress as condense– // rain fills red Solo bowls / for feral cats in the yard”—yet her controlled language is fairly hypnotic, peacefully familiar: “There’s a first time / for everything and // now we’re in for it.” Museum of the Americas by J. Michael Martinez Martinez has written of growing up Catholic in Greeley, Colorado, where the stained glass iterations of the Holy Mother blurred into the glass candles in a curandera’s room: Mariology as reflection, refraction. Language as litany, proving ground for poetry. Martinez’s poems are dynamic personal doxologies of Mexican-American tradition and inheritance. In “Family Photo—Mi Bisabuela Con Mi Abuela”: “Maria Beltran would peel the oranges / & all things on the earth’s surface / became navel & hearth.” His poems open and turn; his theme of family feels like a reclamation. In a later photo poem, the woman’s “wedding dress spills // lilies & lilies of sugar mornings”— those ls lifting the image out of memory. His second sequence in the book—a meditation on execution, bodies hung, bodies “unnailed in cross”—is masterful. Based on a postcard set by Walter H. Horne from Mexico, the images are striking: “the second / leans forward into crucifixion // arms upstretched as wingbones / wrought of tar.” Later: “Lined as background stick figures, / a crowd of children gathers dust // & shade beside the spectacle.” He gathers rhythm and reason toward the poem’s end: “if there are tears, there are no homilies; / if there is color, they are bronze; // if there is life, it is public domain; / if he had a name, it is now transnational // confusion / postmarked in relief.” Ambitious and historical, Martinez’s book earns praise. Things as It Is by Chase Twichell Twichell’s new collection brings us into the world of her poems through invitation, not interrogation. It is a calm, measured entrance. In “The Missing Weekly Readers,” the narrator and her cousins are at their grandmother’s house during the first big snowstorm: “We sat around the table / in an igloo: the dining room // darkened and hushed, / windows a swollen glow.” After lunch, they brave the storm to loot the next week’s magazines from a mailbox. Years later, still coated with guilt, she tells us: “If you someday find them / in a surprising place, with a note / from some kids admitting to the theft, // please keep it to yourself.” Such union—or communion—with the reader is an offering worth savoring. Yet Twichell’s work is neither innocent nor gentle. In one stanza she describes riding her bike through the ash piles of burned leaves; in the next, she writes of a dangerous man who “liked little girls.” She repeats little, and the horror becomes pungent. Poetic turns like that require real skill, and the awareness that beauty and terror often share the same air. In “Soft Leather Reins,” the narrator and her friend had to release horses tangled in barbed wire. They ride home together at dusk, and “There my knowledge ends.” Twichell lets her poems unfurl into the world, and it is a quiet joy to watch them evaporate. With the Dogstar as My Witness by John Fry Fry’s debut begins in the most appropriate way possible for the book that follows: “like a preacher’s son returned to God / —but never the church.” This book is a search for a soul, undertaken by one who has “looked for that angel unawares, / prodigal or pilgrim, saint or sinner, to ask” questions without answers, unless we look to the imperfections of faith. With the Dogstar as My Witness is a document of terrible longing that we are born for, so many hearts “promised benediction, our goodbyes / blackened our altars.” In poems spread across the page—syntactic breaks in breath and hope—Fry suggests that we are never truly content with divine absence. He looks not for substitute, but salves. He travels the wilderness, the desert of desire. He accepts the recognition that “even novenas / can’t coat a stomach already gone.” Fry quotes Fanny Howe in one section of the book, and she is an appropriate patron saint for poetic hearts straining, inevitably, toward God. “say I am:” the narrator writes, “otherwise agnostic, a believer / only when in unison / words are sung-said / beside another, stranger or / familiar, not alone.” Hey, Marfa by Jeffrey Yang Marfa is lucky to earn such a quicksilver ode from Yang, whose poems are flexible, expansive, sonorously clever. From “Substation”: “Gray day faraway water-tower potentiometer // enclosed by a series of right-angle triangles, guy- / line hypotenuse cables lengthening to anchor / pole.” Among these manufactured moods, “A small town thrives in the desert.” Yang is so precise in his rendering of myths: “Sunrise over a dirt road / by a low-wire fence, birdsong, / a rooster crows, then distant church bells / pealing arpeggios in the thin air.” Peppered with paintings and drawings by Rackstraw Downes, Yang’s book is equal parts historical (diary and interview anecdotes from residents), folkloric (“They told us a story about the devil, / mala cosa, small in stature with a beard / whose face they could never see clearly”), and comfortable in contemporary wonder. In one poem, the narrator and friends “sought out the Lights / off an empty highway, not a soul but us four.” On the distant horizon, they see the magic: “hovering / eerily for a moment, chills at being chosen, / growing / brighter than disappearing.” The marvel ends when a police officer’s lights bring their gaze down to earth. His flashlight scans their faces, and he asks them: “You all’re Americans aren’t you?” Their response: “we lied and said ‘Yes.”—a reminder that even though you can capture a place in words doesn’t mean your language and self are understood there.

October Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Find more October titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! OCTOBER Killing Commendatore by Haruki Murakami (translated by Philip Gabriel and Ted Goossen): Like many before me, I once fell into Murakami’s fictional world only to emerge six months later wondering what on earth happened. So any anticipation for his new books is tempered by caution. His new novel is about a freshly divorced painter who moves to the mountains, where he finds an eerie and powerful painting called “Killing Commendatore.” Mysteries proliferate, and you will keep reading—not because you are expecting resolution but because it’s Murakami, and you’re under his spell. (Hannah) All You Can Ever Know by Nicole Chung: This book—the first by the former editor of the much-missed site The Toast—is garnering high praise from lots of great people, among them Alexander Chee, who wrote, “I've been waiting for this writer, and this book—and everything else she'll write.” Born prematurely to Korean parents who had immigrated to America, the author was adopted by a white couple who raised her in rural Oregon, where she encountered bigotry her family couldn’t see. Chung grew curious about her past, which led her to seek out the truth of her origins and identity. (Thom) Heavy by Kiese Laymon: Finally! This memoir has been mentioned as “forthcoming” at the end of every Kiese Laymon interview or magazine article for a few years, and I’ve been excited about it the entire time. Laymon has written one novel and one essay collection about America and race. This memoir focuses on Laymon’s own body—in the personal sense of how he treats it and lives in it, and in the larger sense of the heavy burden of a black body in America. (Janet) Good and Mad: The Revolutionary Power of Women's Anger by Rebecca Traister: What it says in the title, by one of the foremost contemporary chroniclers of the role(s) of women in American society. It feels as though the timing of this release could not be better (that is to say, worse). Read an interview with Traister here. (Lydia)     Unsheltered by Barbara Kingsolver: The beloved novelist’s latest tells the story of Willa Knox, whose middle-class life has crumbled: The magazine she built her career around has folded, and the college where her husband had tenure has shut down. All she has is a very old house in need of serious repair. Out of desperation, she begins looking into her house’s history, hoping that she might be able to get some funding from the historical society. Through her research, she finds a kindred spirit in Thatcher Greenwood, who occupied the premises in 1871 and was an advocate of the work of Charles Darwin. Though they are separated by more than a century, Knox and Greenwood both know what it’s like to live through cultural upheaval. (Hannah) Friday Black by Nana Kwame Adjei-Brenyah: In his debut short story collection, that garnered him the National Book Foundation's "5 under 35" honor, Adjei-Brenyah writes about the injustice black people face every day in America. Tackling issues like criminal justice, consumerism, and racism, these timely stories are searching for humanity in a brutal world. The collection is both heartbreaking and hopeful, and George Saunders called it “an excitement and a wonder: strange, crazed, urgent and funny.” (Carolyn) Things to Make and Break by May-Lan Tan: This debut collection of short fiction is the most recent collaboration between Coffee House Press and Emily Books. The 11 short stories argue that relationships between two people often contain a third presence, whether that means another person or a past or future self. Tan’s sensibility has been compared to that of Joy Williams, David Lynch, and Carmen Maria Machado. (Hannah)   Gone So Long by Andre Dubus III: Whether in his fiction (House of Sand and Fog) or his nonfiction (Townie), Dubus tells blistering stories about broken lives. In his new novel, Daniel Ahern “hasn’t seen his daughter in forty years, and there is so much to tell her, but why would she listen?” Susan, his daughter, has good reason to hate Daniel—his horrific act of violence ruined their family and poisoned her life. Dubus has the preternatural power to make every storyline feel mythic, and Gone So Long rides an inevitable charge of guilt, fear, and stubborn hope. “Even after we’re gone, what we’ve left behind lives on in some way,” Dubus writes—including who we’ve left behind. (Nick R.) Little by Edward Carey: Set in a Revolutionary Paris, a tiny, strange-looking girl named Marie is born—and then orphaned. Carey blurs the lines between fact and fiction, and art and reality, in his fictionalized tale of the little girl who grew up to become Madame Tussaud. In a starred review, Publishers Weekly writes the novel's "sumptuous turns of phrase, fashions a fantastical world that churns with vitality." (Carolyn)   White Dancing Elephants by Chaya Bhuvaneswar: Drawing comparisons to Gabriel Garcia Marquez, Margaret Atwood, and Sandra Cisneros, Bhuvaneswar’s debut collection pulls together stories of diverse women of color as they face violence, whether it be sexual, racial, or self-inflicted. The Buddha also makes an appearance, as do Hindu myths, incurable diseases, and an android. No wonder Jeff VanderMeer calls White Dancing Elephants “often provocative” as well as bold, honest, and fresh. (Kaulie) Impossible Owls by Brian Phillips: You know meritocratic capitalism is a lie because everyone who wrote during Holly Anderson’s tenure as editor of MTV News is not presently wealthy beyond imagination, but that’s beside the point. Better yet, let’s pour one out for Grantland. Better still, let’s focus on one truth. Brian Phillips’s essays are out of this world: big-hearted, exhaustive, unrelentingly curious, and goddamned fun. It’s about time he graced us with this collection. (Nick M.) Scribe by Alyson Hagy: In a world devastated by a civil war and fevers, an unnamed protagonist uses her gift of writing to protect herself and her family's old Appalachian farmhouse. When Hendricks, a mysterious man with a dark past, asks for a letter, the pair set off an unforeseen chain of events. Steeped in folklore and the supernatural, Kirkus's starred review called it "a deft novel about the consequences and resilience of storytelling." (Carolyn) The Witch Elm by Tana French: For six novels now, French has taken readers inside the squabbling, backstabbing world of the (fictional) Dublin Murder Squad, with each successive book following a different detective working frantically to close a case. Now, in a twist, French has—temporarily, we hope—set aside the Murder Squad for a stand-alone book that follows the victim of a crime, a tall, handsome, faintly clueless public relations man named Toby who is nearly beaten to death when he surprises two burglars in his home. Early reviews online attest that French’s trademark immersive prose and incisive understanding of human psychology remain intact, but readers do seem to miss the Murder Squad. (Michael) Hungry Ghost Theater by Sarah Stone: Siblings Robert and Julia Zamarin want to reveal the dangers of the world with their small political theater company while their neuroscientist sister Eva attempts to find the biological roots of empathy. While contending with fraught family dynamics, the novel touches on themes like art, free will, addiction, desire, and loss. Joan Silber writes she "found this an unforgettable book, astute, vivid, and stubbornly ambitious in its scope." (Carolyn)   Love is Blind by William Boyd: In Boyd's 15th novel, Brodie Moncur—a piano tuner with perfect pitch—flees his oppressive family in Scotland and travels across Europe. In the shadow of a (seemingly) doomed affair, the novel ruminates on the devastating power of passion, secrets, and deception. (Carolyn)   Famous Adopted People by Alice Stephens: Stephens' debut novel follows Lisa, a 27-year-old adoptee, as she travels to South Korea to find her birth mother. Equally tense, tragic, and comedic, Publishers Weekly describes the novel as a "fun-house depiction of the absurdities and horrors of the surveillance state."  (Carolyn)   Girls Write Now by Girls Write Now: Containing more than one hundred essays from young women in the Girls Write Now program, a writing and mentorship program in New York City. The anthology contains stories rife with angst, uncertainty, grief, hope, honesty, and joy, and advice on writing and life from powerhouses like Roxane Gay, Chimamanda Ngozi Adichie, and Zadie Smith. Kirkus calls the anthology  "an inspiring example of honest writing."  (Carolyn)   A Dream Called Home by Reyna Grande: A former undocumented Mexican immigrant, Grande's memoir explores to her journey from poverty to successful author—and the first of her family to graduate from college. Candid and heartfelt in exploring the difficulties of immigration and assimilation, Publishers Weekly's starred review called the book  an "uplifting story of fortitude and resilience." (Carolyn)   Well-Read Black Girl ed. Glory Edim: Glory Edim founded Well-Read Black Girl, a Brooklyn-based book club and an online space that highlights black literature and sisterhood, and last year she produced the inaugural Well-Read Black Girl Festival. Most recently, Edim curated the Well-Read Black Girl anthology, and contributors include Morgan Jerkins, Tayari Jones, Lynn Nottage, Gabourey Sidibe, Rebecca Walker, Jesmyn Ward, Jacqueline Woodson, and Barbara Smith. The collection of essays celebrates the power of representation, visibility, and storytelling. (Zoë) What If This Were Enough? by Heather Havrilesky: Havrilesky's, the acclaimed memoirist and columnist for The Cut's "Ask Polly" advice column, newest collection addresses our culture's obsession with self-improvement. Publishers Weekly's starred review writes "it’s a message she relates with insight, wit, and terrific prose." Tackling subjects like materialism, romance, and social media, she asks readers—who are constantly inundated with messages about productivity and betterment—to ask less of themselves, to realize that they (and their lives) are enough. (Carolyn)   [millions_ad]

Must-Read Poetry: September 2018

Here are seven notable books of poetry publishing in September. Like by A.E. Stallings Stallings has described the “strange dream-logic connections of the rhymes themselves that lead the poem forward, perhaps into territory the poet herself had not intuited. Rhyme is a method of composition.” Like, her fourth collection, is exactly the book needed in our time of neutered cultural language. Her poems are an antidote to the anodyne. We use the word “sculpted” to describe a well-formed poem, and Stallings earns that description: She’s adept at poetic control. In “Alice, Bewildered,” she brings the reader elsewhere—“Deep in the wood where things escape their names”—before alluding to a tale we know, of “likeness in the glass.” I love what she does next: “Yet in the dark ellipsis she can tell, / She’s certain, that her name begins with an ‘L’— / Liza, Lacie? Alias, alas, / A lass alike alone and at a loss.” A bounty of consonance and assonance to turn your tongue enough to taste what’s happening: She’s remaking language. Not with tricks, but with stretches and sprints. Like in “Bedbugs in Marriage Bed,” when the narrator wonders if “it’s best to burn the whole thing down.” Each morning, she checks “the seem of seams,” and there’s nothing for weeks and months—except paranoia. “When darkness blanches and the stars go grey. / Who knows what eggs are laid deep in your dreams / Hatching like doubts. They’re gone, but not for good: / They are the negatives you cannot prove.” Subject becomes symbol becomes saying—it’s a clever movement for a poem. As in her other volumes, Stallings can bend to antiquity as easily as she can write of modern life. My favorite? “Dyeing the Easter Eggs.” Any poet who can deliver phrases like “chrism of olive oil” and “Punctilious as Pontius Pilate” is a gift. When Rap Spoke Straight to God by Erica Dawson Although broken into sections in the table of contents, Dawson’s book functions as a single, long poem. The stanzas brew and burst, but they build across pages. It feels like a book born to be read aloud. Dawson has said there’s “nothing wrong” with poetry that’s “difficult or strange.” Those descriptors can be applied, quite positively, to her new book: an athletically sure trip that begins with Wu-Tang and ends in an oneiric place, “a dark and empty heaven.” The speaker of Dawson’s continuous poem is witty, wise, hilarious, enchanting. She wonders about a Lady Jesus, who dares Peter to deny her. Who commands: “When I asked for grace / the dust hid all the stars and not / a single thing happened. But now/ I am the dust.” She concludes the section suggesting that now “the Holy Spirit finds its voice.” This voice has many varieties; some sections pun presidential, while others are satirical shreds of identity—“Let’s ball, / white boy. Next time I get exotic, I’ll call / You Hoss. Third person. You’re beside yourself.” Dawson’s fluidity is her function: When Rap Spoke Straight to God barrels across a wide plane. “You won’t believe what happened to the angels,” the narrator says. “They never speak the language of the body. / I have a dream I corner Gabriel and tell / him how, one time, I cored the moon and lived, / for a month of Sunday’s, warm inside its curve.” Read this book and you’ll want Dawson to sing of everything. Citizen Illegal by José Olivarez “My parents fold like luggage,” Olivarez writes, “into the trunk of a Toyota Tercel.” Above, “stars glitter against a black sky,” a sky from which “borders do not exist.” What folds them into that trunk is “the belief that the folding will end. // it doesn’t. dollars fold into bills. my parents / near breaking. broke.” This sense of passage and crossing bleeds throughout the collection, which includes interspersed, short pieces titled “Mexican Heaven.” In one, St. Peter is “a Mexican named Pedro.” He waits at the gate “with a shot of tequila to welcome all the Mexicans / to heaven, but he gets drunk & forgets about the list. / all the Mexicans walk into heaven, / even our no-good cousins who only / go to church for baptisms & funerals.” Olivarez’s humor often arises from a place of cultural anxiety: To be Mexican in America is to be talked about, to be labeled and debated, all so without being asked and respected. In one poem, the narrator dreamt he had “Armani suits / isn’t that what Harvard / was supposed to buy / where the border ended / in a boardroom.” An Ivy League education might unlock doors, but it doesn’t unlock stereotypes. What makes Citizen Illegal so pitch-perfect is the anxiety of expectations of immigrant families, the narrator who tries to be “a good Mexican son” but whose Spanish has begun to falter: “my mom still loved me. even when i couldn’t understand her blessings.” In another poem, the narrator is asked “what i am,” if he is really Mexican. I love how that poem ends: “i know i’m a questionable narrator / when it comes to my own life, i ask Jesus / how i got so white & Jesus says / man, / i’ve been trying to figure out the same damn thing myself.” Anagnorisis by Kyle Dargan “Live streams, meanwhile, / pump night-green footage from Ferguson’s / punctured lung into our timelines. Flash / grenades gush like stars spangling from a flag / drawn and quartered. I feel a vicarious / smallness watching demonstrations flee. / A boy has been murdered again.” Dargan is a master of threnody: lines tensed and pulled so much that his poems shake the page. He’s writing within an American language that is broken. In “Poem Resisting Arrest”: “This poem is trying to compose itself. It has // the right to remain either bruised or silent, / but it is a poem, so it hears you’d be safer // if you stopped acting like a poem, ceased resisting.” Poem as resistance, reaction, rejoinder. In a later poem, Dargan writes about the problem of seeking joy from poets: “my struggles with writing / for you, friends, a poem / about gratitude—gratitude / which is all the rave / now.” He prefers poems of gratitude like “Thanks” by Yusef Komunyakaa, where “the gods are blind / and so he praises / off-mark bullets / and butterflies / that kept him alive.” What, really, do we want of poets? What confessions? Who seeks penance? “You want / my private aspect / (joy) to be public. / You want my public / aspect (pain) to be / stowed beneath / my bed like a precious / something someone / might steal from me.” Those “peckish for a peek / at my cloistered, incandescent / revelry—were you as earnest / about my frostbite, my burns, / I would have opened / these hands, sated you all.” Anagnorisis is a book of the inevitable: “To be born human is to be tendered / this challenge to live larger than your woe.” A Cruelty Special to Our Species by Emily Jungmin Yoon Yoon’s book is anchored in poetic testimonies of “comfort women” of the Japanese Empire: women forced into military prostitution. Yoon envisions her channeled narratives as a way “to amplify and speak these women’s stories, not speak for them. I’d like my poetry to remind readers that even if a part of history may not seem to be relevant to their lives, it is—it is their reality too.” She succeeds on several levels. In poems like “Comfort,” she captures the rhythm of pain: “On Wednesdays, it rains // for the children they bore. For the children / they could not bear. For the children / they were.” Several pieces in the collection are titled “An Ordinary Misfortune,” suggesting that violence against women is endemic, threaded into culture, normal. “She is girl. She is gravel. She is grabbed. She is grabbed like handfuls of gravel.” Yoon’s cadences accumulate in this particular iteration, with a stress on girls grabbed: stolen and kept. Another refrain across poems are the “reused condoms,” capturing a shared experience of suffering. Her powerful “Testimonies” section will make you weep—and wonder at evil. Other poems in the collection exist beyond the years of war; pieces like “Bell Theory” skillfully consider how language displaces us. “When I was laughed at for my clumsy English, I touched my throat.” The narrator wants to escape the mockery, but she can’t: One of the cruelties special to our species is how language—and its daggers—is often all we have. Secure Your Own Mask by Shaindel Beers “The (Im)Precision of Language” is the perfect poem to introduce this collection, a book in which clever wordplay, trauma, and transcendence live together. The narrator begins by wondering about how porous and flexible English can be: “How far the ring-necked dove is / from wringing a dove’s neck. The way / a stand of trees can hide a deer // stand, concealing the hunter who / will shoot the deer.” Then, she moves her mood: “Once, someone who was dear to me / threatened me with a deer rifle.” Words and wounds are close. “Language became a tricky game where saying / nothing meant everything, where saying everything // meant nothing left to fear.” Her conclusion, though it stings, works so well: “Which brings us back to the dove, / the difference between ringing // and wringing and where language leaves us / when someone controls every word we say, / when we have no one left to talk to.” The narrators of these poems seek other, better bonds, such as between mother and son. From “Last Night”: “Since Liam turned two, it has been less / and less. The gradual stretching and thinning / of the thread between us.” She thinks “about / before he was born, lying in that same spot / on the bed, watching him flip and roll under / my skin.” Her boy will be 3 in a few hours, “and I will remember sadly the night before / the last time I ever held him so close.” Despite all that these narrators have experienced, they retain hope—to do so is a power against despair. American Journal: Fifty Poems for Our Time selected by Tracy K. Smith I don’t often think of books of poems as potential gifts, but Smith’s volume could make the perfect present. Pocket-sized, long enough to offer a breadth of poets without becoming repetitive or overbearing, Smith’s collection is well-prepared—exactly what you’d hope for in an anthology from a poet laureate. In Smith’s introduction, she says these poems “bear witness to the daily struggles and promises of community, as well as to the times when community eludes us.” Her prefatory remarks, and the book as a whole, feel optimistic. There are some poems of pain within this bunch, certainly, but Smith has done a fine job of giving the reader poems of earned emotions. There’s a fantastic lineup here, but what follows are some special highlights. “’N’em” by Jericho Brown: “They said to say goodnight / And not goodbye.” “They fed / Families with change and wiped / Their kitchens clean.” (Brown’s poems of place and generation drill down, puncture the earth: if you’re looking for a poet of community, look no further.) The always great Vievee Francis with “Sugar and Brine: Ella’s Understanding”: “When it’s time to celebrate, something dies. / When something dies, we take it with the sweet.” The spiritual architecture of “After the Diagnosis” by Christian Wiman: “Change is a thing one sleeps through / when young.” And the prose poetry of Nathalie Handal in “Ten Drumbeats to God”: “Then I heard the drumbeats and remembered—like rain like song like light lit by old questions—there is no reason, there is god, drum, beat, there is what lingers and there is what comes later.”

September Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Find more September titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! Transcription by Kate Atkinson: As a fangirl of both the virtuosic Life After Life and of her Jackson Brody detective novels, I barely need to see a review to get excited about a new Atkinson novel—especially a period novel about a female spy, recruited by MI5 at age 18 to monitor fascist sympathizers. Nonetheless, here’s some love from Booklist (starred review): “This is a wonderful novel about making choices, failing to make them, and living, with some degree of grace, the lives our choices determine for us.” (Sonya) The Golden State by Lydia Kiesling: File The Golden State under "most most-anticipated" as it’s the first novel of The Millions’ own brilliant and beloved Lydia Kiesling, who has has been wielding her pen and editorial prowess on this site for many a year. Two months pre-pub, The Golden State is already off to the races with a nomination for the Center for Fiction's First Novel Prize and a starred review from Publisher's Weekly, stating, "Kiesling depicts parenting in the digital age with humor and brutal honesty and offers insights into language, academics, and even the United Nations." Kiesling herself has written that "great writing is bracing, and makes you feel like making something of your own, either another piece of writing, or a joyful noise unto the Lord.” The Golden State promises just that. (Anne) She Would Be King by Wayétu Moore: It’s the early years of Liberia, and three strangers with nothing in common help smooth the way for the nation. Gbessa is a West African exile who survives certain death; June Dey is running from a Virginia plantation; Norman Aragon, the son of a colonizer and a slave, can disappear at will. Their story stands at the meeting point of the diaspora, history, and magical realism, and Edwidge Danticat calls the novel “beautiful and magical.” (Kaulie) Washington Black by Esi Edugyan: Edugyan’s last novel, Half-Blood Blues, won the Scotiabank Giller Prize and was a finalist for the Man Booker. Attica Locke calls this one “nothing short of a masterpiece.” When Wash, an 11-year-old enslaved in Barbados, is chosen as a manservant, he is terrified. The chooser, Christopher Wilde, however, turns out to be a naturalist, explorer, and abolitionist. But soon Wash and Christopher find themselves having to escape to save their lives. Their run takes them from the frozen North to London and Morocco. It’s all based on a famous 19th-century criminal case. (Claire) Crudo by Olivia Laing: Olivia Laing, known for her chronicles of urban loneliness and writers' attraction to drink as well as critical writing on art and literature, jumps genres with her first novel, Crudo. It's a spitfire of a story with a fervent narrator and a twist: The book is written in the voice of punk feminist author Kathy Acker performed in mash-up with Laing's own, as she considers marriage (with equivocation) and the absurdity of current events circa 2017. Suzanne Moore at The Guardian says, "Here [Laing] asks how we might not disappear…She reaches out for something extraordinary. Crudo is a hot, hot book.” (Anne) Boomer1 by Daniel Torday: Daniel Torday follows his acclaimed debut, The Last Flight of Poxl West, with a second novel that carries a menacing subtitle: Retire or We’ll Retire You. It’s apt because this is the story of a millennial loser named Mark Brumfeld, a bluegrass musician, former journalist, and current grad student whose punk bassist girlfriend rejects his marriage proposal, driving him out of New York and back to his parents’ basement in suburban Baltimore. There, under the titular handle of Boomer1, he starts posting online critiques of baby boomers that go viral. Intergenerational warfare—what a smart lens for looking at the way we live today. (Bill) The Lost Art of Reading by David Ulin: In the book, David delves into the current political and cultural milieu, ultimately offering a hopeful message: “Why should we fear one another’s stories? The true act of resistance is to respond with hope. All those voices are what connect us. In a culture intent on keeping us divided, they are, they have been always, the necessary narrative.” (Edan)   The Shape of Ruins by Juan Gabriel Vasquez (translated by Anne McLean): In this, his sixth novel in English translation, Colombian writer Juan Gabriel Vasquez plays mischief with history, a string of murders, and the conspiracy theories that commonly arise alongside. Add a storyline carried by a duet of narrators—one with a healthy dollop of paranoia, the other with a fixation for real crime so engrossing he’s turned his home into a kind of museum of crime noir—and you’ve got a gripping read and a solid reflection on the appeal of conspiracy. (Il’ja) The Silence of the Girls by Pat Barker: Barker is best known for her fantastic World War I Regeneration trilogy, including The Ghost Road, winner of the 1995 Booker Prize. The Silence of the Girls sees Barker casting her historical imagination back further, to Ancient Greece and the Trojan War. Captured by Achilles, Briseis goes from queen to concubine, from ruler to subject—in this retelling of The Iliad, Barker reclaims Briseis as a protagonist, giving authorial voice to her and the other women who have long existed only as powerless subjects in a male epic. (Adam) The Deeper the Water the Uglier the Fish by Katya Apekina: Edie finds her mother Marianne in the living room only just surviving a suicide attempt, while her sister Mae is upstairs in a trance. Marianne is committed to a mental hospital, and the sisters are sent to live with their father, far from their native Louisiana. But as they spend more time with their father, the girls grow further apart, torn by their deep loyalty to opposite parents and their own grief and confusion. Apekina’s debut novel plays with tricky family relationships and the way fact and fantasy, loyalty and obsession, can be so difficult to tease apart. (Kaulie) Ordinary People by Diana Evans: The third novel from Evans, the inaugural winner of the Orange Prize for New Writers, Ordinary People follows two troubled couples as they make their way through life in London. The backdrop: Obama’s 2008 election. The trouble: Living your 30s is hard, parenthood is harder, and relationships to people and places change, often more than we’d like them to. But Evans is as sharply funny—in clear-eyed, exacting fashion—as she is sad, and Ordinary People cuts close to the quick of, well, ordinary people. (Kaulie) The Caregiver by Samuel Park: Park’s third novel takes place in Rio de Janeiro and California. Mara is an immigrant whose beloved mother Ana, a voice-over actress, was involved with a civilian rebel group in Rio. In California as an adult now, Mara works as a caregiver to a young woman with stomach cancer and grapples with her mother’s complicated, enigmatic past. Shortly after finishing the novel in 2017, Park himself died of stomach cancer at age 41. (Sonya) Sea Prayer by Khaled Hosseini (illustrated by Dan Williams): Hosseini, author of The Kite Runner, has written a short, illustrated book about the refugee crisis. Told from the perspective of a scared Syrian father to his son as they prepare to leave for Europe, Kirkus’s starred review calls the book “an emotional gut-punch…an excruciating one.” (Carolyn)   The Piranhas by Roberto Saviano: An explosive novel about the Neapolitan underworld by the author of the nonfiction book Gomorrah, a publishing event that caused the author to go into hiding (where he lives and writes still).   Patient X: The Case-Book of Ryūnosuke Akutagawa by David Peace: A biographical novel about the master writer Ryūnosuke Akutagawa from the Granta Young British novelist who wrote the Red Riding quartet. According to a Guardian review, his latest is "a novel composed of 12 stories which retell incidents from the life and work of the writer who lived from 1892 to 1927 and is often referred to as the father of the Japanese short story; he is renowned in the west as the author of “In a Grove”, which was the basis for Akira Kurosawa’s film Rashōmon." (Lydia) River by Esther Kinsky (translated by Iain Galbraith): One of the unsung attractions of London is the transitional areas at the edges, where city meets country meets industry meets waterfowl meets isolated immigrant laborer. A book in which scarcely anything ever happens, River is, however, filled with life. Resolute in her take on the terrain as the outsider looking in, Kinsky skillfully chronicles the importance in our lives of the homely, the unobserved and the irrepressibly present. A book for those who would gladly reread W.G. Sebald but wish he had written about people more often. (Il’ja) The Real Lolita by Sarah Weinman: Sarah Weinman uncovers that Sally Horner, an 11-year-old girl who was kidnapped in 1948, was the inspiration for Vladimir Nabokov’s Lolita. Through her thorough research, Weinman learns that Nabokov knew much about Horner’s case and made efforts to disguise this fact. Megan Abbott writes that The Real Lolita “offers both nuanced and compassionate true-crime reportage and revelatory cultural and literary history. It will, quite simply, change the way you think about Lolita and ‘Lolitas’ forever.” (Zoë) The Mermaid and Mrs. Hancock by Imogen Hermes Gowar: Shortlisted for the Women’s Prize for Fiction, Gowar’s debut novel features a prosperous merchant whose life is thrown into chaos when he receives a mermaid and meets a mysterious, older woman. In a starred review, Kirkus describes the the novel as ambitious “with enough romance, intrigue, and social climbing to fill a mermaid’s grotto to the brim.” (Carolyn) After the Winter by Guadalupe Nettel (translated by Rosalind Harvey): A story about love and consciousness that takes place in Havana, Paris, and New York, by the Mexican author who Katie Kitamura called “a brilliant anatomist of love and perversity…each new book is a revelation.” (Lydia) The Diary of a Bookseller by Shaun Bythell: A runaway hit in the UK already, this memoir of bookselling in remote Scotland is now published in the U.S. by Melville House. Dwight Garner called it "Among the most irascible and amusing bookseller memoirs I've read."   Heartland: A Memoir of Working Hard and Being Broke by Sarah Smarsh: An uncomfortable reality of contemporary American society, one of many, is that where social mobility is concerned, the so-called American Dream is best achieved in Denmark. If you’re born into poverty here, in other words, hard work won’t necessarily pull you out. In Heartland, Smarsh blends memoir—she comes from a long line of teen mothers and was raised primarily by her grandmother on a farm near Wichita—with analysis and social commentary to offer a nuanced exploration of the impact of generational poverty and a look at the lives of poor and working-class Americans. (Emily) Writers Under Surveillance: The FBI Files by MIT Press (ed., JPat Brown, B. C. D. Lipton, and Michael Morisy): Obtained through Freedom of Information Act requests by MuckRock, a nonfiction dedicated to increasing government transparency, this collection reveals former FBI investigations against writers such as James Baldwin, Hannah Arendt, and Allen Ginsberg. (Carolyn)   The Dictionary of Animal Languages by Heidi Sopinka: A novel based on the life of the surrealist painter Leonora Carrington, who Sopinka interviewed for The Believer before the artist's death. Our own Claire Cameron said of the book, "With stunning prose, lavish details, deep wisdom, and emotional precision, reading this book is like falling in love--my interest in everything else was lost." (Lydia)   These Truths by Jill Lepore: A one-volume history of the United States by the brilliant writer and historian, focusing on the promises and contradictions of the republic. Henry Louis Gates Jr. says "With this epic work of grand chronological sweep, brilliantly illuminating the idea of truth in the history of our republic, Lepore reaffirms her place as one of one of the truly great historians of our time.” (Lydia)   My Pet Serial Killer by Michael Seidlinger: Writer and Electric Literature alumnus Seidlinger has written a horror novel that Alissa Nutting calls "A rowdy menagerie of the unexpected, this book will delight and disturb even the bravest of readers; all preconceptions of what to trust and what to fear are masterfully upended." (Lydia)   A Key to Treehouse Living by Elliot Reed: A novel in glossary form narrated by an orphan growing up in the midwest. Joy Williams calls the book, “Disorienting, weirdly wise, indescribably transparent, impossibly recognizable. Fun, too.” (Lydia)   The Personality Brokers by Merve Emre: The Myers-Briggs personality test is the most popular test of its kind in the world, and affects life in ways large and small--from the hiring and career development practices of Fortune 500 companies, to time-wasting Facebook tests to, amazingly, people's Twitter bios. (I'm allegedly an ENFP, incidentally.) As it happens, the test was contrived by a team of mother-daughter novelists with a Jung obsession. Scholar and trenchant literary critic Emre uses archival research to tell this story, revealing the fictions woven into a supposedly "scientific" instrument. (Lydia) Static Flux by Natasha Young: From the streets of Brooklyn to the hills of Los Angeles, this witty debut novel follows Calla—a millennial with a personality disorder—as she leaves post-Great Recession New York for LA after failing to make it as a writer. (Carolyn) [millions_ad]

Must-Read Poetry: August 2018

Here are seven notable books of poetry publishing in August. The Carrying by Ada Limón For a book metered by grief, there’s a lot of love here—that shouldn’t come as a surprise, considering Limón’s stylistic control and skill. Poems like “Almost Forty” appear next to “Trying,”; in the former, narrated by a couple, loud birds are “insane // in their winter shock of sweet gum and ash.” They look at each other and wonder if the birds’ screams are a warning—but don’t say a thing. Their silence extends to the end of the poem, when they “eat what we’ve made together, / each bite an ordinary weapon we wield // against the shrinking of mouths.” In “Trying,” they are again together. He is painting in the basement; she is “trellising / the tomatoes in what’s called / a Florida weave.” And then, “we try to knock me up again.” The day passes, the sun begins to set, and she checks the plants, her “fingers smelling of sex and tomato vines.” She doesn’t “know much / about happiness,” and yet “some days I can see the point / in growing something, even if / it’s just to say I cared enough.” Growing, caring, surviving: There’s a hymn at play here, and Limón is very good at pacing her poems to leave us satisfied but also curious. Elsewhere she writes, “Perhaps we are always hurtling our body towards / the thing that will obliterate us,” and that sentiment feels like a central truth to her poems. Her satirical poems sting (in “The Contract Says: We’d Like the Conversation to Be Bilingual,” she roasts empty attempts at inclusion: “Will you tell us the stories that make / us uncomfortable, but not complicit?”), yet so many of these poems are simply about how to stay alive. “I lost God awhile ago,” she ends one poem. “And I don’t want to pray, but I can picture / the plants deepening right now into the soil, / wanting to live, so I lie down among them, / in my ripped pink tank top, filthy and covered / in sweat, among red burying beetles and dirt / that’s been turned and turned like a problem / in the mind.” One of the best books of the year. Perennial by Kelly Forsythe Forsythe’s debut collection is about 1999 and now, the personal and the projected, villains and victims. Writing about high school is never easy—those hyper, hyperbolic years—but Forsythe is open and patient as she reconstructs life at Columbine High School. “Call us rebels,” begins one poem. “We’re making movies, / we’re making a plan, we’re / following each other // around basements.” As if the poem wants to nudge our assumptions about the infamous identities of these poem’s speakers, we see: “Will you set up a dynamic // that is also an obsession? / Will you discuss patterns?” Perennial shows how the violence of Columbine—a violence that has reverberated on campuses across America—creates an endless cycle of worry, fear, regret, and guilt. The narrative bounds between Colorado and Pittsburgh, where a young narrator is forced to accept the pain that now scars the mundane walls of such schools. Forsythe delivers precise lines of pain—“We are so small & red, red, collapsing,” ends one poem, holding the reader’s breath—but what also appears is the dizzying sense that even in these banal spaces, humanity remains. In “Homeroom,” “It felt strange to return to this space / the next day, or rather this concept: // a room meant as a home / for small enlisted selves.” In that weird, boring world, “we noticed the color / black, we noticed each other’s / hands, we noticed each other.” If You Have to Go by Katie Ford “The mind is full of mistakes as we set out to write the poem. We have flawed thoughts, collapsing systems, rotten boards and corroding anchors that make up how we think through a morning, through a day, through a love, and through a life. It is a crushing art.” Written after her second book Colosseum, Ford’s description of the poetic experience feels equally apt to her excellent new book. If You Have to Go is dedicated to the theologian Gordon D. Kaufman, one of Ford’s mentors at Harvard Divinity School. Her new book is part threnody, part longing, all song. The book is anchored by an extended crown of sonnets, which feel like pained and punctuated addresses to God, herself, and “Desire, that zealous servant / who won’t stop tending.” The speaker has had enough and only wants some rest. “Let me stand plain, undone in this room. / I never asked desire to be so rich.” The recursive sonnet crown pushes the reader deeper into the book, and deeper into the narrator’s woes: “I make my bed every morning. / I don’t know where to start / so I start with the bed. / Then I fall to my knees against it.” Her habit, or perhaps her condition, of seeking divine solace creates only more worry: “Do you think I don’t know that when I say Lord / I might be singing into the silo where nothing is stored.” Ford’s lines are impassioned, full of the terrible desire of doubt: “I don’t know what I mean, / but I mean it. I don’t know what to want, / but I want it. And when I say God / it’s because no one can know it—not ever, // not at all—. It’s a wall. / And it drops to the floor as I fall.” This book is a journey, particularly moored to “Psalm 40,” a robust poem that looks inward and upward: “I am content because before me looms the hope of love.” If They Come for Us by Fatimah Asghar Asghar’s debut mines past and present, Pakistan and America in poems that are driven by a penchant and talent for storytelling. She begins with “For Peshawar,” an elegy that considers the 2014 Taliban attack on schoolchildren: “From the moment our babies are born / are we meant to lower them into the ground?” The narrator moves from questions to frustrated requests: “I wish them a mundane life. / Arguments with parents.” A life should have moments of mundane, not mortal, pain: “Blisters on the back of a heel. // Loneliness in a bookstore.” As her poems move to other settings and moments, Asghar returns to this theme: Wounds are inevitable, and much of life is looking to story for closure, or at least comfort. In the poem “Kal,” the narrator says “Allah, you gave us a language / where yesterday & tomorrow / are the same word.” Then, “If yesterday & tomorrow are the same / pluck the flower of my mother’s body / from the soil.” There’s an energy to her sense of elegy, so much that it permeates other poems, like “Old Country.” A family goes to a buffet “on the days we saved enough money.” Kids carry “our rectangle / backpacks brimming with homework, calculators / & Lisa Frank trapper keepers, for we knew this was a day / without escape.” That space becomes a fantasy of play: “Here, our family reveled in the American / way of waste, manifest destinied our way / through the mac & cheese, & green bean // casseroles, mythical foods we had only / heard about on TV where American children rolled their eyes in disgust.” Hours of freedom pass, but as with many of Asghar’s poems, there’s a tinge of melancholy—an awareness of what permeates this world. [millions_ad] The Blue Clerk by Dionne Brand Every ars poetica is a conversation, an attempt at meaning and purpose. The Blue Clerk is a collection of such attempts—a meandering, metaphorical, sometimes mystical collection—and the result is a developed, inventive book. Brand is also a novelist, and her reach is showcased here in a book that begins with a curious premise: a clerk, dressed in blue, waits on a wharf. A ship is supposed to arrive soon. She is “inspecting and abating” the “bales of paper” that surround her. These are “left-hand pages” from a poet, “benign enough pages,” ones “you can’t use right now because the poem moved in another direction. Pages that are unformed, or pages that, at whatever moment, she did not have the patience or the reference to solidify.” Brand tells this unfolding story in prose poetic verses. Some sections are of indiscriminate authorship—the clerk is the poet, the poet is not the clerk—suggesting the drift of our poetic identities. Brand’s lines are unique and quite comfortable to get lost in. The cleaved personality, and person, between the poet and clerk brings us to places where poetry is birthed: “Living that little fissure between scenes of the real. Everyone lives that everyday but we quickly seal the fissure for whatever pleasures are in the so-called reality, or we give up on being on this side of the fissure because it is too lonely there. It is a chasm. It is a choice available to anyone, and apparent to everyone, but unfortunately my job is…I wish I couldn’t see that chasm.” The work of the clerk is curation. The work of the poet? “I am not really in life, the author says. I am really a voyeur. But the part of me that is in life is in pain all the time. That’s me, says the clerk. You watch, I feel.” feeld by Jos Charles “Why do we say that the word ‘tree’—spoken or written—is a symbol to us for trees? Both the word itself and the trees themselves enter into our experience on equal terms; and it would be just as sensible, viewing the question abstractedly, for trees to symbolize the ‘tree’ as for the word to symbolize the trees.” Alfred North Whitehead’s schema of language seems relevant to feeld, the second book by Jos Charles. Although Charles’s method has been compared to Chaucer, I think Stephanie Burt’s allusion to James Joyce is even more apt. feeld, in its mode and method, lives in the same world as Finnegans Wake—both books force us to reconsider how language transfers (and hides) meaning. “i a lone hav scaped 2 tell u this,” Charles writes, of various scenes from a “female depositrie room,” but also images of fields, unearthing metaphors and ways to think of identity: “i muste // re member / plese kepe ur handes / 2 urself  / i meen this // ontologicklie // nayture is sumwere else.” Language is a place of skepticism but also necessity, and feeld builds toward a sense of resignation: “a lief is so smal / the nut // off a thynge / the trees // ive wetd / & wut weeve throne // inn 2 a stream / ull never kno // wut was here.” How Poems Get Made by James Longenbach Rather than wonder or worry about poetry’s larger, idealistic goals for society, Longenbach’s volume is a careful guidebook that sticks to the poem itself: its reading, its writing, its revision. “The impulse to be lyrical is driven by the need to feel unconstrained by ourselves,” he writes, and he proceeds like a good teacher through many of poetry’s essential modes: diction, syntax, voice, figure, rhythm, image, tone, and more. What I especially like is that he uses time-worn classics as sources of instruction. He draws from poets like Blake, Crane, Dickinson, Donne, and Keats for good reason: “Because they hold our attention as repeatable events, the best-known poems may seem wonderfully strange, especially after long acquaintance.” With healthy quotes from poems that demonstrate the technical and metaphorical values he lauds, Longenbach creates a book that is not literary analysis, but an explanation of how poems work—which might just be enough to get people writing verse.

August Preview: The Millions Most Anticipated (This Month)

We wouldn’t dream of abandoning our vast semiannual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around).  Here’s what we’re looking out for this month. (“Phew, it’s a hot one,” etc.) Find more August titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! A River of Stars by Vanessa Hua: A factory worker named Scarlett Chen is having an affair with Yeung—her boss—when her life is suddenly turned upside down. After she becomes pregnant with Yeung’s son, Scarlett is sent to a secret maternity home in Los Angeles so that the child will be born with the privileges of American citizenship. Distressed at her isolation, Scarlett flees to San Francisco’s Chinatown with a teenage stowaway named Daisy. Together, they disappear into a community of immigrants that remains hidden to most Americans. While they strive for their version of the American dream, Yeung will do anything to secure his son’s future. In a time when immigration policy has returned to the center of our national politics, Bay Area author Vanessa Hua delivers a book that explores the motivations, fears, and aspirations that drive people to migrate. (Ismail) This Mournable Body by Tsitsi Dangarembga: Set in Zimbabwe, this novel follows  Tambudzai—the protagonist of Dangarembga's previous novel, Nervous Conditions--as she navigates her position as a schoolteacher, with traumatic results. Kirkus calls this "a difficult but ultimately rewarding meditation on the tolls that capitalism and misogyny take on a fledgling nation's soul." (Lydia)   Flights by Olga Tokarczuk (translated by Jennifer Croft): The 116 vignettes that make up this collection have been called digressive, discursive, and speculative. My adjectives: disarming and wonderfully encouraging. Whether telling the story of the trip that brought Chopin’s heart back to Warsaw or of a euthanasia pact between two sweethearts, Croft’s translation from Polish is light as a feather yet captures well the economy and depth of Tokarczuk’s deceptively simple style. A welcome reminder of how love drives out fear and also a worthy Man Booker International winner for 2018. (Il’ja) If You Leave Me by Crystal Hana Kim: Kim, a Columbia MFA graduate and contributing editor of Apogee Journal, is drawing rave advance praise for her debut novel. If You Leave Me is a family saga and romance set during the Korean War and its aftermath. Though a historical drama, its concerns—including mental illness and refugee life—could not be more timely. (Adam)   Praise Song for the Butterflies by Bernice McFadden: On the heels of her American Book Award- and NAACP Image Award-winning novel The Book of Harlan, McFadden’s 10th novel, Praise Song for theButterflies, gives us the story of Abeo, a privileged 9-year-old girl in West Africa who is sacrificed by her family into a brutal life of ritual servitude to atone for the father’s sins. Fifteen years later, Abeo is freed and must learn how to heal and live again. A difficult story that, according to Kirkus, McFadden takes on with “riveting prose” that “keeps the reader turning pages.” (Sonya) The Third Hotel by Laura Van Den Berg: When Clare arrives in Havana, she is surprised to find her husband, Richard, standing in a white linen suit outside a museum (surprised, because she thought Richard was dead). The search for answers sends Clare on a surreal journey; the distinctions between reality and fantasy blur. Her role in Richard’s death and reappearance comes to light in the streets of Havana, her memories of her marriage, and her childhood in Florida. Lauren Groff praises the novel as “artfully fractured, slim and singular.” (Claire) The Devoted by Blair Hurley: Longlisted for the Center for Fiction First Novel Prize, Hurley's debut explores the complex relationship between a young woman and her Buddhist teacher. Publishers Weekly writes, "this thoughtful novel carefully untangles the often knotty interconnection between romantic and religious love, revealing the dangers inherent in each without denying their value." (Lydia)   Severance by Ling Ma: In this funny, frightening, and touching debut, office drone Candace is one of only a few New Yorkers to survive a plague that’s leveled the city. She joins a group, led by IT guru Bob, in search of the Facility, where they can start society anew. Ling Ma manages the impressive trick of delivering a bildungsroman, a survival tale, and satire of late capitalist millennial angst in one book, and Severance announces its author as a supremely talented writer to watch. (Adam) Night Soil by Dale Peck: Author and critic Dale Peck has made a career out of telling stories about growing up queer; with Night Soil, he might have finally hit upon his most interesting and well-executed iteration of that story since his 1993 debut. The novel follows Judas Stammers, an eloquently foul-mouthed and compulsively horny heir to a Southern mining fortune, and his mother Dixie, a reclusive artist famous for making technically perfect pots. Living in the shadow of the Academy that their ancestor Marcus Stammers founded in order to educate—and exploit—his former slaves, Judas and Dixie must confront the history of their family’s complicity in slavery and environmental degradation. This is a hilarious, thought-provoking, and lush novel about art’s entanglement with America’s original sin. (Ismail) How Are You Going to Save Yourself by JM Holmes: A collection of stories featuring four young men living in Pawtucket, Rhode Island. In a starred review, Kirkus writes "these stories of young working-class black men coming into their dubious inheritances mark the debut of an assured young talent in American storytelling."  Read Holmes discuss one of the stories at the The Paris Review here. (Lydia)   Cherry by Nico Walker: A medic in the Iraq War returns home to America to his wife, residual trauma, and a burgeoning drug addiction. The novel was written while the author was doing time in federal prison for armed robbery. New York Magazine says "it was probably inevitable that a book like this would emerge from these twin scourges on American life abroad and at home, but it wasn’t necessary that it be a novel of such searing beauty as Cherry." (Lydia)   The Fifth Woman by Nona Caspers: A novel in stories following the aftermath of a death of a woman named Michelle in a bike accident. Kirkus says the book "tracks grief through all its painful stages, from the surreal collapse of memory to the bittersweet tug of letting go." (Lydia)   Baby, You're Gonna Be Mine by Kevin Wilson: The first story collection in a decade from the author of The Family Fang, Kirkus says "Wilson triumphantly returns to short stories… ruminating once more on grief, adolescence, and what it means to be a family… Evocative, compassionate, and exquisitely composed stories about the human condition.”(Lydia)   The Shakespeare Requirement by Julie Schumacher: The sequel to Dear Committee Members, a novel that swiftly achieved status among academics, Schumacher's latest tracks the foibles of the Chair of English at Payne University. In a starred review, Kirkus called it "A witty but kindhearted academic satire that oscillates between genuine compassion and scathing mockery with admirable dexterity." (Lydia)   Summer by Karl Ove Knausgaard: After the success of his six-part autofiction project My Struggle, Norwegian author Karl Knausgaard embarked on a new project: a quartet of memoiristic reflections on the seasons. Knausgaard wraps up the quartet with Summer, an intensely observed meditation on the Swedish countryside that the author has made a home in with his family. (Ismail)   French Exit by Patrick deWitt: In this new novel by Patrick deWitt, bestselling author of The Sisters Brothers and Undermajordomo Minor, a widow and her son try to escape their problems (scandal, financial ruin, etc.) by fleeing to Paris. Kirkus Reviews calls it “a bright, original yarn with a surprising twist,” and Maria Semple says it’s her favorite deWitt novel yet, its dialogue “dizzyingly good.” According to Andrew Sean Greer the novel is “brilliant, addictive, funny and wise.” (Edan) Notes from the Fog by Ben Marcus: If you’ve read Marcus before, you know what you’re in for: a set of bizarre stories that are simultaneously terrifying and hysterical, fantastical and discomfortingly realistic. For example, in “The Grow-Light Blues,” which appeared in The New Yorker a few years back, a corporate employee tests a new nutrition supplement—the light from his computer screen. The results are not pleasant. With plots that seem like those of Black Mirror, Marcus presents dystopian futures that are all the more frightening because they seem possible. (Ismail) Heartbreaker by Claudia Dey: Called “a dark star of a book, glittering with mordant humor and astonishing, seductive strangeness and grace” by Lauren Groff, this is the story of Pony Darlene Fontaine. She lives in “the territory,” a sinister town run on a scarce economic resource. One night, Pony’s mother, Billie Jean, bolts barefoot into cold of the wider world—a place where the townspeople have never been. Told from the perspectives of Pony, a dog, and a teenage boy, this book shows the magic of Dey’s imagination. Publishers Weekly gave it a starred review, calling it a “word-for-word triumph.” (Claire) Before She Sleeps by Bina Shah: Every news event, policy decision, and cultural moment now draws parallels to Margaret Atwood’s The Handmaid’s Tale. “It’s Gilead, we’re in Gilead,” Twitter tells us, “Nolite te bastardes carborundorum.” But Shah’s novel is both explicitly connected to Atwood’s marvel and working to expand it by imagining what a secular, Middle Eastern Gilead might look like. In a near future, war and disease have wiped out the women of what is currently Pakistan and Iran, and those who survived are now the forced breeders of a dystopian society. But there’s resistance, secrets, and risk; the result, Kirkus writes, is a kind of spy-genre-cum-soap-opera update on a modern classic. (Kaulie) Open Me by Lisa Locascio: If you’re looking for a sexy and smart summer read, look no further. In this erotic coming-of-age story, Lisa Locascio explores the female body, politics, and desire. Aimee Bender writes that this debut novel is “a kind of love letter to the female body and all its power and visceral complexity. This is a story of many important layers, but one of the many reasons it remains distinct in my mind is because of its honesty about our complicated, yearning physical selves.” (Zoë) Housegirl by Michael Donkor: In this debut novel, Donkor follows three Ghanaian girls: Belinda, the obedient; Mary, the irrepressible; and Amma, the rebel. For her part, Amma has had about enough of the tight-laced life in London that her parents want for her and begins to balk at the strictures of British life. But when she is brought to London to provide a proper in-house example for willful Amma, sensible Belinda begins to experience a cultural dissociation that threatens her sense of self as nothing before ever had. (Il’ja)