I had the pleasure of being a National Book Awards judge this year, and I’m proud to have helped choose our winner, Colum McCann (Let the Great World Spin), and finalists Mary Jo Campbell (American Salvage), Daniyal Mueenuddin (In Other Rooms, Other Wonders), Jayne Anne Phillips (Lark and Termite), and Marcel Theroux (Far North)
For this list, though, I’m returning to the comparatively tiny amount of reading I did this year BEFORE beginning to read the NBA submissions in May. I’ve been on an epic poetry kick inspired by Pushkin’s Eugene Onegin, which is of course superb. Still, the work I got most thoroughly lost in was Lord George Gordon Byron’s Don Juan. Many editions are abridged, but there’s no reason not to take in the whole rollicking extravaganza: 17 cantos and counting… the work was unfinished when Byron died and ends mid-canto. Cut corners and you’ll risk missing the pirate scene, or Don Juan’s affair with Catherine the Great of Russia, or the part when he’s sold as a slave and then disguised as a member of a Sultan’s harem, or the shipwreck, or the ghost scene, or the battle… You get the picture; this mock epic is so crammed with adventure and wildness and great poetry that it will make your head spin. But none of that is the best part. The real achievement of Don Juan is the voice, unprecedented for its time: loose, casual, and utterly modern–full of asides about Byron’s daily life, his writing struggles, not to mention a lot of bitchy remarks about his peers, Coleridge especially. It’s an artifact so imbued with the essence of its maker that you can practically smell his sweat on its pages. And I call that a good thing.