Roadside Picnic (Rediscovered Classics)

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January Pure Wit by Francesca Peacock [NF] I first learned about the life and work of seventeenth-century writer and philosopher Margaret Cavendish in Regan Penaluna's stellar study of women thinkers, and I've been dying to read a biography of Cavendish ever since. And I'm in luck (all of us are) thanks to biographer Peacock. A proto-feminist, science-fiction pioneer, and divisive public figure, Cavendish is endlessly fascinating, and Peacock's debut gives her the rigorous, in-depth treatment that she deserves. —Sophia M. Stewart Nonfiction by Julie Myerson [F] A blurb from Rachel Cusk is just about all it takes to get me excited about a book, so when I saw that Cusk called Myerson's latest novel "glitteringly painful," "steady and clear," and "the book [Myerson] was intended to write," I was sold. A tale of art, addiction, and the ties that bind mothers and daughters, Nonfiction promises to devastate. —SMS Immediacy by Anna Kornbluh [NF] Did the pandemic kill postmodernism? And what comes after the end of history? University of Illinois–Chicago professor Kornbluh dubs our contemporary style “immediacy,” characterized by same-day delivery, bingeable multimedia, and real-time news updates that spin the economic flywheel ever faster. Kornbluh names this state of emergence and emergency, and suggests potential off-ramps in the direction of calm reflection, measured art-making, and, just maybe, collective wisdom. —Nathalie op de Beeck Slow Down by Kōhei Saitō, tr. Brian Bergstrom [NF] In this internationally-bestselling treatise, Japanese philosopher Saitō argues against "sustainable growth" in favor of degrowth—the slowing of economic activity—which he sees at the only way to address the twinned crises of inequality and climate change. Saitō's proposal is simple, salient, and adapts Marx for the modern day. —SMS Relic by Ed Simon [NF] From Millions alum Simon comes a slim study of the objects we imbue with religious (or quasi-religious) meaning, from the bone of a Catholic martyr to Jimi Hendrix's guitar pick. Bloomsbury's Object Lessons series never misses, and Relic is one of the series' most unconventional—and compelling—entries yet. —SMS Filterworld by Kyle Chayka [NF] The outline of reality has become increasingly blurry as the real world melds with the digital one, becoming what Chayka, staff writer at the New Yorker, calls “Filterworld,” a society built on a foundation of ever-evolving algorithms. In his book of the same name, Chayka calls out the all-powerful algorithm, which he argues is the driving force behind current and accelerating trends in art, consumption, and ethics. —Daniella Fishman Portrait of a Body by Julie Delporte, tr. Helge Dascher and Karen Houle [NF] A gripping narrative of coming to terms with her queer identity, Canadian cartoonist Delporte's latest graphic memoir—praised by Eileen Myles and Fariha Róisín—sees Delporte learning to embrace herself in both physical and metaphysical ways. Dreamy colored pencil illustrations and gently flowing storytelling capture the beauty, trauma, and ultimate tranquility that comes with learning to exist on your own terms. —DF Beautyland by Marie-Helene Bertino [F] In Bertino’s latest novel, following 2020's Parakeet, the launch of Voyager 1 into space coincides with the birth of Adina Giorno, who, much like the solitary satellite, is in search of something she can't yet see. As a child, she senses that she is not of this world and struggles to make a life for herself amid the drudgery of human existence. Playing on Adina's alienness as both a metaphor and a reality, Bertino asks, “Are we really alone?” —DF The Last Fire Season by Manjula Martin [NF] Martin returns ablaze in her latest memoir, pitched as "H Is for Hawk meets Joan Didion in the Pyrocene." Following an anguishing chronic pain diagnosis, Martin attempts to reconnect with her beloved Northern California wilderness in order to escape not only her deteriorating health but a deteriorating world, which has ignited around her in the worst fire season California has ever seen. Devastating and ambivalent, The Last Fire Season tries to sift through the ashes of climate change. —DF The Furies by Elizabeth Flock [NF] Violence by women—its role, its potential righteousness—is the focus of Flock's latest. Following the real-life cases of a young rape survivor in Alabama, a predator-punishing gang leader in India, and an anti-ISIS militia fighter in Syria, Flock considers how women have used lethal force as a means to power, safety, and freedom amid misogynistic threats and oppression. Is violence ever the answer? Flock looks to three parallel lives for guidance. —SMS Imagining the Method by Justin Owen Rawlins [NF] University of Tulsa professor Rawlins demystifies that most celebrated (and controversial) acting school, challenging our contemporary conceptions of screen performance. I was sold the moment I saw Rawlins received the ultimate stamp of approval from Isaac Butler, author of the definitive account of method acting: "If you care about the evolution of twentieth-century screen performance, you should read this book." —SMS We Are Free to Change the World by Lyndsey Stonebridge [NF] Famed twentieth-century philosopher and political theorist Hannah Arendt wrote passionately about power, freedom, and inequality against the backdrop of fascism—a project as relevant today as it ever was. Stonebridge, a professor of humanities and human rights, revisits the lessons of Arendt's writings and applies them to the twenty-first century, creating a dialogue between past, present, and future. —DF Walter Benjamin Stares at the Sea by C.D. Rose [F] In these 19 short stories, Rose meditates on philosophy, photography, and literature. Blending erudition and entertainment, Rose's fables follow writers, teachers, and artists through various situations—and in a standout story, imagines how St. Augustine would fare on Twitter. —DF Black Women Taught Us by Jenn M. Jackson [NF] Jackson's debut book foregrounds the work of Black feminist writers and leaders—from Ida B. Wells and Harriet Jacobs to Shirley Chisholm and bell hooks—throughout American history, revealing the centuries-long role that Black women have played in imagining and fighting for a more just society. Imani Perry calls Jackson "a beautiful writer and excellent scholar." —SMS The Bullet Swallower by Elizabeth Gonzalez James [F] Pitched as Cormac McCarthy meets Gabriel García Márquez (yeesh!), The Bullet Swallower is the second novel (after Mona at Sea) from Elizabeth Gonzalez James, who also wrote the weird and wonderful essay/play Five Conversations About Peter Sellers. Infusing the spaghetti western with magical realism, the novel follows a Mexican bandito on a cosmic journey generations in the making. —SMS Last Acts by Alexander Sammartino [F] In Sammartino's debut novel, the owner of a gun store hatches a plan to resurrect his struggling business following his son's near-death experience. George Saunders, Mary Karr, and Nana Kwame Adjei-Brenyah have all heaped on praise, and Jenny Offill finds it "hard to believe Last Acts is a first novel." —SMS I Sing to Use the Waiting by Zachary Pace [NF] Pace fuses memoir and criticism (my favorite combination) to explore the emotional and cultural impacts of women singers across time, from Cat Power and Rihanna to Kim Gordon and Whitney Houston. A queer coming-of-age story that centers the power of music and the legacies of women artists. —SMS Dead in Long Beach, California by Venita Blackburn [F] Blackburn, the author of the stellar story collections Black Jesus and Other Superheroes and How to Wrestle a Girl, delivers a debut novel about storytelling and unreality, centering on a successful novelist who gets hold of her dead brother's phone—and starts answering texts as him. Kristen Arnett calls this one "a bonafide knockout" that "rewired my brain." —SMS Everyone Who Is Gone Is Here by Jonathan Blitzer [N] New Yorker staff writer Blitzer traces the harrowing history of the humanitarian crisis at the U.S.-Mexico border, foregrounding the stories of Central American migrants whose lives have been threatened and upended by political tumult. A nuanced, layered, and rigorously reported portrait that Patrick Radden Keefe hails as "extraordinary." —SMS The Survivors of the Clotilda by Hannah Durkin [NF] Durkin, a British historian, explores the lives of 103 Africans who were kidnapped and transported on the last slave ship to dock in the U.S., shortly before the Civil War began in 1861. Many of these captives were children, and thus lived their lives against a dramatic backdrop, from the Civil War all the way up to the dawn of the Civil Rights movement. What these people experienced and how they prevailed should intrigue anybody interested in learning more about our nation’s darkest chapter. —Claire Kirch Your Utopia by Bora Chung, tr. Anton Hur [F] Following her acclaimed sophomore novel The Cursed Bunny, Chung returns with more tales from the realm of the uncanny. Covering everything from unruly AI to the quest for immortality to the environmental destruction caused by capitalism, Chung’s story collection promises more of the mystifying, horror-filled goodness that has become her calling card. —DF The Rebel's Clinic by Adam Shatz [NF] Frantz Fanon—political philosopher, psychiatrist, and author of the trailblazing Black Skin, White Masks and The Wretched of the Earth—is one of the most important writers and thinkers of the postcolonial era, and his work continues to inform contemporary thinking on race, capitalism, and power. In this sprawling biography, Shatz affirms Fanon's place as a towering intellect and groundbreaking activist. —SMS You Dreamed of Empires by Álvaro Enrigue, tr. Natasha Wimmer [F] Enrigue's latest novel, following Sudden Death, reimagines the fateful 1519 invasion of Tenochtitlan (now Mexico City) by Spanish conquistador Hernán Cortés. With exuberant style, and in a lively translation by Wimmer, Enrigue brings the Aztec capital and the emperor Moctezuma to vibrant life—and rewrites their destinies. —SMS February Love Novel by Ivana Sajko, tr. by Mima Simić [F] Croatian literature may lag behind its Russian, Hungarian, Polish, and Ukrainian counterparts—roughly in that order—as far as stateside recognition goes, but we all make mistakes. Just like couples do in love and under capitalism. “A war between kitchen and bedroom,” as the liner notes read, would have been enough to sell me, but that war’s combatants, “an unemployed Dante scholar” and “a passable actress,” really sealed the deal. —John H. Maher The Unforgivable by Cristina Campo, tr. Alex Andriesse [NF] This new NYRB edition, introduced by Kathryn Davis, brings together all of the essays Campo published in her lifetime, plus a selection of additional essays and autofiction. The result is a robust introduction to a stylish—but largely forgotten—Italian writer whose "creativity was a vocation in the truest sense," per Jhumpa Lahiri. —SMS Alphabetical Diaries by Sheila Heti [NF] Last year, I was enraptured by Heti's limited-run New York Times newsletter in which she alphabetized sentences from 10 years' worth of her diary entries—and this year, we can finally enjoy the sublime results of that experiment in book form. This is my favorite work of Heti's, full stop. —SMS Dinner on Monster Island by Tania De Rozario [NF] Blending film criticism, social commentary, and personal narrative, De Rozario (most recently the author of the Lambda Literary Award–nominated And the Walls Came Crumbling Down) explores her experience growing up queer, brown, and fat in Singapore, from suffering through a "gay-exorcism" to finding solace in horror films like Carrie. —SMS Wrong Norma by Anne Carson [NF] Everyone shut up—Anne Carson is speaking! This glistening new collection of drawings and musings from Carson is her first original work since the 2016 poetry collection Float. In Carson's own words, the collection touches on such disparate topics (she stresses they are "not linked") as Joseph Conrad, Roget's Thesaurus, snow, Guantánamo, and "my Dad." —DF Self-Portraits: Stories by Osamu Dazai, tr. Ralph McCarthy [F] Japanese writer Dazai had quite the moment in 2023, and that moment looks likely to continue into the new year. Self-Portraits is a collection of short autofiction in the signature melancholic cadence which so many Anglophone readers have come to love. Meditating on themes of hypocrisy, irony, nihilism—all with a touch of self-deprecating humor—Dazai’s work will either pull you out of a deep depression or crack your rose-colored glasses; there is no in-between. —DF Imagination by Ruha Benjamin [NF] Visionary imagination is essential for justice and a sustainable future, argues Benjamin, a Princeton professor of African American studies and founder of the Ida B. Wells Just Data Lab. In her treatise, she reminds readers of the human capacity for creativity, and she believes failures of imagination that lead to inequity can be remedied. In place of quasi-utopian gambles that widen wealth gaps and prop up the surveillance state, Benjamin recommends dreaming collective and anti-racist social arrangements into being—a message to galvanize readers of adrienne marie brown and Alexis Pauline Gumbs. —SMS Literary Theory for Robots by Dennis Yi Tenen [NF] Artificial intelligence and machine-generated writing are nothing new, and perhaps nothing to fear, argues Tenen, a Columbia English professor and former software engineer. Traveling through time and across the world, Tenen reveals the labor and collaboration behind AI, complicating the knee-jerk (and, frankly, well-founded!) reactions many of us have to programs like ChatGPT. —SMS A Sign of Her Own by Sarah Marsh [F] Alexander Graham Bell is best known as the inventor of the telephone, but what he considered his life's work was the education of deaf children—specifically, the harmful practice of oralism, or the suppression of sign language. Marsh's wonderful debut novel unearths this little-known history and follows a deaf pupil of Bell's as she questions his teachings and reclaims her voice. —SMS Get the Picture by Bianca Bosker [NF] Journalist Bosker, who took readers behind the scenes with oenophiles in her 2017 Cork Dork, turns to avid artists, collectors, and curators for this sensory deep dive. Bosker relies on experiential reporting, and her quest to understand the human passion for visual art finds her apprenticing with creators, schmoozing with galleristas, and minding canonical pieces as a museum guard. —NodB Columbo by Amelie Hastie [NF] Columbo experienced something of a renaissance during the pandemic, with a new generation falling for the rugged, irresistible charms of Peter Falk. Hastie revisits the series, a staple of 70s-era TV, with refreshing rigor and appreciation, tackling questions of stardom, authorship, and the role of television in the process. —SMS Acts of Forgiveness by Maura Cheeks [F] Cheeks's debut novel sounds amazing and so au courant. A woman is elected U.S. president and promises Black Americans that they will receive reparations if they can prove they are descended from slaves. You’d think people would jump on achieving some social justice in the form of cold cash, right? Not Willie Revel’s family, who’d rather she not delve into the family history. This promises to be a provocative read on how the past really isn’t past, no matter how much you run from it. —CK The Sentence by Matthew Baker [F] I minored in Spanish linguistics in college and, as a result, came to love that most useless and rewarding of syntactic exercises, diagramming sentences. So I'm very excited to read Baker's The Sentence, a graphic novel set in an alternate America and comprising single, 6,732-word sentence, diagrammed in full. Syntax wonks, assemble! —SMS Neighbors by Diane Oliver [F] Before her untimely death in 1966 at the age of 22, Oliver wrote stories of race and racism in Jim Crow America characterized by what Dawnie Walton calls "audacity, wit, and wisdom beyond her years." Only four of the 14 stories in Neighbors were published in Oliver's lifetime, and Jamel Brinkley calls the publication of her posthumous debut collection "an important event in African American and American letters." —SMS The Weird Sister Collection by Marisa Crawford [NF] Essayist, poet, and All Our Pretty Songs podcaster Crawford founded the Weird Sister blog in 2014, covering books and pop culture from contemporary young feminists’ and queer perspectives. The now-defunct blog offered literary reviews, Q&As with indie authors, and think pieces on film and music. For this collection, whose foreword comes from Michelle Tea, Crawford gathers favorite pieces from contributors, plus original work with a Weird Sister edge. —NodB Smoke and Ashes by Amitav Ghosh [NF] As research for his Ibis trilogy, Ghosh mapped the opium trade around the world and across centuries. This global and personal history revisits the British Empire’s dependence on Indian opium as a trade good, and how the cultivation of and profits from opium shaped today’s global economy. In his nonfiction The Great Derangement, Ghosh employs personal anecdotes to make sense of larger-scale developments, and Smoke and Ashes promises to connect his own family and identity to today’s corporate, institutional, and environmental realities. —NodB Private Equity by Carrie Sun [NF] In her debut memoir, Sun recounts her time on Wall Street, where she worked as an assistant to a billionaire hedge-fund founder and was forced to rethink everything she thought she knew about work, money, sacrifice, and living a meaningful life. This one sounds like a great read for fans of Anna Wiener's Uncanny Valley (e.g. me). —SMS I Love You So Much It's Killing Us Both by Mariah Stovall [F] When Khaki Oliver receives a letter from her estranged former best friend, she isn’t ready for the onslaught of memories that soon cause her to unravel. A Black Bildungsroman about friendship, fandom, and sanity, I Love You So Much It's Killing Us Both is an unflinching look at "what it means to be young in a hard, and nonetheless beautiful, world," per Vauhini Vara. —Liv Albright Dreaming of Ramadi in Detroit by Aisha Sabatini Sloan [NF] I know from personal experience that anything published by Graywolf Press is going to open my eyes and make me look at the world in a completely different way, so I have high expectations for Sloan’s essays. In this clever collection, a Black creative reflects upon race, art, and pedagogy, and how they relate to one’s life in this crazy country of ours during the time period between the 2016 election and the onset of the pandemic. —CK Language City by Ross Perlin [NF] Perlin travels throughout the most linguistically diverse city on the planet—New York—to chronicle the sounds and speakers of six endangered languages before they die out. A linguist and co-director of the Endangered Language Alliance, Perlin argues for the importance of little-known languages and celebrates the panoply of languages that exists in New York City. —SMS Monkey Grip by Helen Garner [F] A tale as old as time and/or patriarchal sociocultural constructs: a debut novel by a woman is published and the critics don't appreciate it—until later, at least. This proto-autofictional 1977 novel is now considered a classic of Australian "grunge lit," but at the time, it divided critics, probably because it had depictions of drug addiction and sex in it. But Lauren Groff liked it enough to write a foreword, so perhaps the second time really is the charm. —JHM Ours by Phillip B. Williams [F] A conjuror wreaks magical havoc across plantations in antebellum Arkansas and sets up a Brigadoon for the enslaved people she frees before finding that even a mystic haven isn't truly safe from the horrors of the world. What a concept! And a flexible one to boot: if this isn't adapted as a TV series, it would work just as well as an RPG. —JHM Violent Faculties by Charlotte Elsby [F] A philosophy professor influenced by the Marquis de Sade designs a series of experiments to prove its relevance as a discipline, specifically with regard to life and death, a.k.a. Philip Zimbardo (Chopped and Screwed Remix): The Novel. If you ever trusted a philosophy professor with your inner self before—and you probably shouldn't have?—you probably won't after reading this. —JHM American Abductions by Mauro Javier Cárdenas [F] Plagued by data harvesting, constant surveillance, mass deportation, and incarceration, the society at the heart of Cárdenas's new novel is less speculative dystopia than realist reflection. Channeling Philp K. Dick and Samuel Delaney, Cárdenas imagines a society where Latin Americans are systematically expunged. Following the lives of two Columbian-American sisters, one who was deported and one who stayed in the U.S., American Abduction tells a new kind of immigrant story, suffused with mysticism and philosophical rigor. —DF Closures: Heterosexuality and the American Sitcom by Grace Lavery [NF] I took Lavery's class on heterosexuality and sitcoms as an undergrad, and I'm thrilled to see the course's teachings collected in book form. Lavery argues that since its inception the sitcom has depicted heterosexuality as constantly on the verge of collapse, only to be reconstituted at the end of each half-hour episode. A fascinating argument about the cultural project of straightness. —SMS Whiskey Tender by Deborah Taffa [NF] Almost a decade in the making, this memoir from Taffa details generations of Southwest Native history and the legacies of assimilationist efforts. Taffa—a citizen of the Quechan Nation and Laguna Pueblo tribe, and director of the MFA in Creative Writing at the Institute of American Indian Arts—was born on the California Yuma reservation and grew up in Navajo territory in New Mexico in the 1970s and 1980s. She reflects on tribal identity and attitudes toward off-reservation education she learned from her parents’ and grandparents’ fraught formative experiences. —NodB Normal Women by Philippa Gregory [NF] This is exciting news for Anglophiles and history nerds like me: Philippa Gregory is moving from historical fiction (my guilty pleasure) about royal women and aristocrats in medieval and early modern England to focus on the lives of common women during that same time period, as gleaned from the scraps of information on them she has unearthed in various archives. I love history “from the bottom up” that puts women at the center, and Gregory is a compelling storyteller, so my expectations are high. —CK Blue Lard by Vladimir Sorokin, tr. Max Lawton [F] Upon its publication in 1999, Sorokin's sci-fi satire Blue Lard sparked protests across Russia. One aspect of it particularly rankled: the torrid, sexual affair it depicts between Stalin and Khruschev. All to say, the novel is bizarre, biting, and utterly irreverent. Translated into English for the first time by Lawton, Sorokin's masterwork is a must-read for anyone with an iconoclastic streak. —SMS Piglet by Lottie Hazell [F] Hazell's debut novel follows the eponymous Piglet, a successful cookbook editor identified only by her unfortunate childhood nickname, as she rethinks questions of ambition and appetite following her fiancé's betrayal. Per Marlowe Granados, Hazell writes the kind of "prose Nora Ephron would be proud of." —SMS Grief is for People by Sloane Crosley [NF] Crosley enlivens the grief memoir genre with the signature sense of humor that helped put her on the literary map. In Grief Is for People, she eulogizes the quirks and complexities of her friendship with Russell Perreault, former publicity director at Vintage Books, who died by suicide in 2019. Dani Shapiro hails Crosley’s memoir—her first full-length book of nonfiction—as “both a provocation and a balm to the soul.” —LA The Freaks Came Out to Write by Tricia Romano [NF] The freaks came out to write, and you better believe the freaks will come out in droves to read! In this history of the legendary alt-weekly the Village Voice, Romano (a former writer for the Voice) interviews some 200 members the paper’s most esteemed staff and subjects. A sweeping chronicle of the most exciting era in New York City journalism promises to galvanize burgeoning writers in the deflating age of digital media. —DF Burn Book by Kara Swisher [NF] Swisher has been reporting on the tech industry for 30 years, tracing its explosive growth from the dawn of the internet to the advent of AI. She's interviewed every tech titan alive and has chronicled their foibles and failures in excruciating detail. Her new book combines memoir and reportage to tell a comprehensive history of a troubled industry and its shortsighted leaders. —SMS Wandering Stars by Tommy Orange [F] Orange returns with a poignant multi-generational tale that follows the Bear Shield-Red Feather family as they struggle to combat racist violence. Picking up where Orange's hit debut novel, There There, left off, Wandering Stars explores memory, inheritance, and identity through the lens of Native American life and history. Per Louise Erdrich, “No one knows how to express tenderness and yearning like Tommy Orange." —LA March The Hearing Test by Eliza Barry Callahan [F] Callahan's debut novel follows a young artist as she faces sudden hearing loss, forcing to reevaluate her orientation to her senses, her art, and the world around her. Amina Cain, Moyra Davey, and Kate Zambreno are all fans (also a dream blunt rotation), with the latter recommending this one be "read alongside the novels of W.G. Sebald, Rachel Cusk, and Maria Gainza." —SMS The Extinction of Irena Rey by Jennifer Croft [F] When a group of translators arrive at the home of renowned novelist Irena Rey, they expect to get to work translating her latest book—instead, they get caught up in an all-consuming mystery. Irena vanishes shortly after the translators arrive, and as they search for clues to the author's disappearance, the group is swept up by isolation-fueled psychosis and obsession. A “mischievous and intellectually provocative” debut novel, per Megha Majumdar. —LA Thirst by Marina Yuszczuk, tr. Heather Cleary [F] This isn’t your typical meet-cute. When two women—one grieving, the other a vampire, both of them alienated and yearning for more—cross paths in a Buenos Aires cemetery, romance blooms. Channelling Carmen Maria Machado and Anne Rice, Yuszczuk reimagines the vampire novel, with a distinctly Latin American feminist Gothic twist. —LA The Great Divide by Cristina Henríquez [F] I'm a sucker for meticulously researched and well-written historical fiction, and this one—a sweeping story about the interconnected lives of the unsung people who lived and labored at the site of the Panama Canal—fits the bill. I heard Henríquez speak about this novel and her writing processes at a booksellers conference, and, like the 300 booksellers present, was impressed by her presentation and fascinated at the idea of such a sweeping tale set against a backdrop so larger-than-life and dramatic as the construction of the Panama Canal. —CK Bite Your Friends by Fernanda Eberstadt [NF] Melding memoir and history, Eberstadt's Bite Your Friends looks at the lives of saints, philosophers, and artists—including the author and her mother—whose abberant bodies became sites of subversion and rebellion. From Diogenes to Pussy Riot, Eberstadt asks what it means to put our bodies on the line, and how our bodies can liberate us. —SMS Anita de Monte Laughs Last by Xochitl Gonzalez [F] When Raquel Toro, an art history student, stumbles on the story of Anita de Monte, a once prominent artist from the '80s whose mysterious death cut short her meteoric rise, her world is turned upside down. Gonzalez's sophomore novel (after her hit debut Olga Dies Dreaming) toggles between the perspectives of Raquel and Anita (who is based on the late Ana Mendieta) to explore questions of power, justice, race, beauty, and art. Robert Jones, Jr. calls this one "rollicking, melodic, tender, and true—and oh so very wise." —LA My Heavenly Favorite by Lucas Rijneveld, tr. Michele Hutchison [F] Rijneveld, author of the International Booker Prize-winning novel The Discomfort of Evening, returns with a new take on the Lolita story, transpiring between a veterinarian and a farmer's daughter on the verge of adolescence. "This book unsettled me even as it made me laugh and gasp," gushes Brandon Taylor. "I'm in awe." Radiant by Brad Gooch [NF] Lauded biographer Gooch propels us through Keith Haring’s early days as an anonymous sidewalk chalk artist to his ascent as a vigilante muralist, pop-art savant, AIDS activist, and pop-culture icon. Fans of Haring's will not want to miss this definitive account of the artist's life, which Pulitzer-winner biographer Stacy Schiff calls "a keen-eyed, beautifully written biography, atmospheric, exuberant, and as radiant as they come." —DF The Riddles of the Sphinx by Anna Shechtman [NF] Sometimes you encounter a book that seems to have been written specifically for you; this was the feeling I had when I first saw the deal announcement for Shechtman's debut book back in January 2022. A feminist history of the crossword puzzle? Are you kidding me? I'm as passionate a cruciverbalist as I am a feminist, so you can imagine how ravenously I read this book. The Riddles of the Sphinx is one of the best books of 2024, hands down, and I can't wait for everyone else—puzzlers and laymen alike—to fall in love with it too. —SMS The Silver Bone by Andrey Kurkov, tr. Boris Drayluk [F] Kurkov is one of Ukraine's most celebrated novelists, and his latest book is a murder mystery set against the backdrop of WWI-era Kyiv. I'll admit what particularly excites me about The Silver Bone, though, is that it is translated by Dralyuk, who's one of the best literary translators working today (not to mention a superb writer, editor, and poet). In Drayluk's hands, Kurkov's signature humor and sparkling style come alive. —SMS Feeding Ghosts by Tessa Hulls [NF] This multigenerational graphic memoir follows Hull, alongside her mother and grandmother, both of whom hail from China, across time and space as the delicate line between nature and nurture is strained by the forces of trauma, duty, and mental illness. Manjula Martin calls Feeding Ghosts “one of the best stories I’ve read about the tension between family, history, and self.” —DF It Lasts Forever and Then It's Over by Anne de Marcken [F] Haunting prose and a pithy crow guide readers through Marcken's novel of life after death. In a realm between reality and eternity, the undead traverse westward through their end-of-life highlight reel, dissecting memories, feelings, and devotions while slowly coming to terms with what it means to have lived once all that remains is love. Alexandra Kleeman admits that she "was absolute putty in this book's hands." —DF Parasol Against the Axe by Helen Oyeyemi [F] When I visited Prague, a year after the 1989 Velvet Revolution, the Czech capital struck me as a magical place, where anything is possible, and Oyeyemi captures the essence of Prague in Parasol Against the Axe, the story of a woman who attends her estranged friend's bachelorette weekend in the city. A tale in which reality constantly shifts for the characters and there is a thin line between the factual and the imagined in their relationships, this is definitely my kind of a read. —CK Say Hello to My Little Friend by Jennine Capó Crucet [F] Crucet's latest novel centers on a failed Pitbull impersonator who embarks on a quest to turn himself into a modern-day Tony Montana—a quest that leads him to cross paths with Lolita, a captive orca at the Miami Seaquariam. Winking at both Scarface and Moby-Dick, Say Hello to My Little Friend is "a masterclass in pace and precision," per Nana Kwame Adjei-Brenyah. —SMS But the Girl by Jessica Zhan Mei Yu [F] Girl, a Malaysian-Australian who leaves home for the U.K. to study Sylvia Plath and write a postcolonial novel, finds herself unable to shake home—or to figure out what a "postcolonial novel" even is. Blurbs are untrustworthy, but anything blurbed by Brandon Taylor is almost certainly worth checking out. —JHM Wrong Is Not My Name by Erica N. Cardwell [NF] Cardwell blends memoir, criticism, and theory to place her own Künstlerroman in conversation with the work of Black visual artists like Lorna Simpson, Lorraine O'Grady, and Kara Walker. In interconnected essays, Cardwell celebrates the brilliant Black women who use art and storytelling to claim their place in the world. —SMS Great Expectations by Vinson Cunningham [F] A theater critic at the New Yorker, Cunningham is one of my favorite writers working today, so I was thrilled to learn of his debut novel, which cheekily steals its title from the Dickens classic. Following a young Black man as he works on a historic presidential campaign, Great Expectations tackles questions of politics, race, religion, and family with Cunningham's characteristic poise and insight. —SMS The Future of Songwriting by Kristin Hersh [NF] In this slim volume, Throwing Muses frontwoman and singer-songwriter Hersh considers the future of her craft. Talking to friends and colleagues, visiting museums and acupuncturists, Hersh threads together eclectic perspectives on how songs get made and how the music industry can (and should) change. —SMS You Get What You Pay For by Morgan Parker [NF] Parker, a brilliant poet and author of the stellar There Are More Beautiful Things Than Beyonce, debuts as an essayist with this candid, keen-eyed collection about life as a Black woman in America. Casting her gaze both inward and onto popular culture, Parker sees everything and holds back nothing. —SMS Mother Doll by Katya Apekina [F] Following up her debut novel, The Deeper the Water, the Uglier the Fish, Apekina's Mother Doll follows Zhenia, an expectant mother adrift in Los Angeles whose world is rocked by a strange call from a psychic medium with a message from Zhenia's Russian Revolutionary great-grandmother. Elif Batuman calls this one "a rare achivement." —SMS Solidarity by Astra Taylor and Leah Hunt-Hendrix [NF] What does "solidarity" mean in a stratified society and fractured world? Organizers and activists Hunt-Hendrix and Taylor look at the history of the concept—from its origins in Ancient Rome to its invocation during the Black Live Matter movement—to envision a future in which calls for solidarity can produce tangible political change. —SMS The Manicurist's Daughter by Susan Lieu [NF] After her mother, a refugee of the Vietnam war and the owner of two nail salons, dies from a botched cosmetic surgery, Lieu goes looking for answers about her mother's mysterious life and untimely death. Springing from her hit one-woman show 140 LBS: How Beauty Killed My Mother, Lieu's debut memoir explores immigration, beauty, and the American Dream. —SMS Through the Night Like a Snake ed. Sarah Coolidge [F] There's no horror quite like Latin American horror, as any revering reader of Cristina Rivera Garza—is there any other kind?—could tell you. Two Lines Press consistently puts out some of the best literature in translation that one can come by in the U.S., and this story collection looks like another banger. —JHM Headshot by Rita Bullwinkel [F] Bullwinkel's debut collection, Belly Up, was a canful of the uncanny. Her debut novel, on the other hand, sounds gritty and grounded, following the stories of eight teenage girls boxing in a tournament in Reno. Boxing stories often manage to punch above their weight (sorry) in pretty much any medium, even if you're not versed enough in the sport to know how hackneyed and clichéd that previous clause's idiomatic usage was. —JHM Choose This Now by Nicole Haroutunian [F] Haroutunian's novel-in-stories, part of Noemi Press's Prose Series, follows a pair of inseparable friends over the years as they embark on careers, make art, fall in and out of love, and become mothers. Lydia Kiesling calls this one "a sparkling, intimate look at women's lives" that makes "for a lovely reading experience." —SMS Death by Laughter by Maggie Hennefeld [NF] Hennefeld's scholarly study explores the forgotten history and politics of women's "hysterical laughter," drawing on silent films, affect theory, feminist film theory, and more. Hennefeld, a professor of cultural studies and comparative literature, offers a unique take on women's pleasure and repression—and how the advent of cinema allowed women to laugh as never before. —SMS James by Percival Everett [F] In James, the once-secondary character of The Adventures of Huckleberry Finn narrates his version of life on the Mississippi. Jim, who escapes enslavement only to end up in adventures with white runaway Huck, gives his account of well-known events from Mark Twain’s 1880s novel (and departs from the record to say what happened next). Everett makes readers hyperaware of code-switching—his 2001 novel Erasure was about a Black novelist whose career skyrockets when he doubles down on cynical stereotypes of Blackness—and Jim, in James, will have readers talking about written vernacular, self-awareness, and autonomy. —NodB A Chance Meeting by Rachel Cohen [NF] Chronicling 36 fateful encounters among 30 writers and artists—from Henry James to Gertrude Stein, Mark Twain to Zora Neal Hurston—Cohen paints a vast and sparkling portrait of a century's worth of American culture. First published in 2004, and reissued by NYRB, A Chance Meeting captures the spark of artistic serendipity, and the revived edition features a new afterword by the author. —SMS Who's Afraid of Gender? by Judith Butler [NF] Butler has had an outsized impact on how we think and talk about gender and sexuality ever since the 1990 publication of Gender Trouble, which theorized the way gender is performed and constructed. Butler's latest is a polemic that takes on the advent of "anti-gender ideology movements," arguing that "gender" has become a bogeyman for authoritarian regimes. —SMS Green Frog by Gina Chung [F] Chung, author of the acclaimed debut novel Sea Change, returns with a story collection about daughters and ghosts, divorcees and demons, praying mantises and the titular verdant amphibians. Morgan Talty calls these 15 stories "remarkable." —SMS No Judgment by Lauren Oyler [NF] Oyler is one of our sharpest and most fearless cultural critics, and No Judgement is her first essay collection, following up her debut novel Fake Accounts. Opining on gossip and anxiety, autofiction and vulnerability, and much, much more, Oyler's caustic wit and penetrating voice shine through every essay. —SMS Memory Piece by Lisa Ko [F] Following up her National Book Award–nominated debut novel The Leavers, Ko's latest follows three lifelong friends from the 1990s to the 2040s. A meditation on the meaning of a "meaningful life" and how to adapt to an increasingly inhospitable world, Memory Piece has earned praise from Jacqueline Woodson and C Pam Zhang, who calls the novel "bright with defiance, intelligence, and stubborn love." —SMS On Giving Up by Adam Phillips [NF] Psychoanalyst Phillips—whose previous subjects include getting better, wanting to change, and missing out—takes a swing at what feels like a particularly timely impulse: giving up. Questioning our notions of sacrifice and agency, Phillips asks when giving up might be beneficial to us, and which parts of our lives might actually be worth giving up. —SMS There's Always This Year by Hanif Abdurraqib [NF] Abdurraqib returns (how lucky are we!) with a reflection on his lifelong love of basketball and how it's shaped him. While reconsidering his childhood, his relationship with his father, and the meaning of "making it," Abdurraqib delivers what Shea Serrano calls "the sharpest, most insightful, most poignant writing of his career." —SMS The Angel of Indian Lake by Stephen Graham Jones [F] The final installment of Jones's trilogy picks up four years after Don't Fear the Reaper. Jade Daniels is back from prison, and upon her release, she encounters serial killer-worshipping cults, the devastating effects of gentrification, and—worst of all—the curse of the Lake Witch. Horror maestro Brian Keene calls Jones's grand finale "an easy contender for Best of the Year." —LA Worry by Alexandra Tanner [F] This deadpan debut novel from Tanner follows two sisters on the cusp of adulthood as they struggle to figure out what the hell to do with their lives. Heads butt, tempers flare, and existential dread creeps in as their paths diverge amid the backdrop of Brooklyn in 2019. Limning the absurdity of our internet-addled, dread-filled moment, Tanner establishes herself as a formidable novelist, with Kiley Reid calling Worry "the best thing I've read in a very long time." —DF [millions_email]

Reading Soviet Sci-Fi at the End of the World

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The best encapsulation of my emotional relationship to technology during the pandemic comes from a Russian novel published in 1991. Victor Pelevin’s Omon Ra opens with the titular Omon recalling his youth, when he was obsessed with space. On playgrounds, young Omon plays pilot. On his aunt’s TV set, he pauses on any channel broadcasting an airborne object. When visiting the Industry Achievements Expo, Omon gazes upon an artistic rendering of an astronaut whose “arms were stretched out confidently towards the stars, and his legs were so obviously not in need of any support that I realized once and for ever that only weightlessness could give man genuine freedom.” Because the point of view at this juncture is that of a boundlessly enthusiastic boy, and because Pelevin can write his absolute ass off, the sentence does not end at freedom. It takes off, which, incidentally, is why all my life I’ve only been bored by all those Western radio voices and those books by various Solzhenitsyns. In my heart, of course, I loathed a state whose silent menace obliged every group of people who came together, even if only for a few seconds, to imitate zealously the vilest and bawdiest among them; but since I realized that peace and freedom were unattainable on earth, my spirit aspired aloft, and everything that my chosen path required ceased to conflict with my conscience, because my conscience was calling me out into space and was not much interested in what was happening on earth. Well hello. That last big sentence full of big ideas arrives on page six in Omon Ra. It speaks of freedom and hearts and spirit, each little clause punctuated by its own invisible kiddy exclamation point, because what is an exclamation point if not a rocket ship? The ones I’m imagining after “aloft” and “conscience” seek to transport Omon and the reader up and away from the “boring” West and also the “vile” Soviet state. And yet this soaring scene is not one that anticipated my pandemic-induced techno-frustration. That came later, when Omon and his friend, Mityok, attend a summer camp called Rocket. A glum Mityok shows Omon “a little plasticine figure with its head wrapped in foil.” The figurine is an astronaut; Mityok acquired it by disassembling one of the model rocket ships in the mess hall. Mityok explains, “in a thoughtful and depressed sort of voice,” how the toy astronaut had been stuck to its chair. The entire machine had been built around him. “There was no door,” Mityok explains. “There was a hatch drawn on the outside, but in the same place on the inside—just some dials and the wall.” To Mityok and Omon, this astronaut is not an inanimate toy. The figurine is a stand-in for their heroic dreams and imagined futures, and they are irate at discovering, for the first time, that the Soviet Space Program they’ll soon enroll in is not especially interested in fostering technological environments in which humans can actually live and dream (and depart at will). The toy astronaut has not been granted soaring conscience, total freedom, and mapless exploration way out beyond the political monotonies of Earth. The astronaut has been entombed, and at this juncture I set down Omon Ra with a shudder, checked the time on my iPhone, and scrambled to log my son into his pre-K Teams classroom. While I booted up my own Zoom classroom, I took a look around my house, thinking: the pandemic has entombed me in devices, and I’m not seeing many exits. * I did, at some point, have a half-baked reason for embarking on a Soviet sci-fi reading spree. It went something like: Covid-19 seems destined to finally snuff out the overlong afterglow of so-called American excellence, and so there might be unpredictably relevant and resonant moments hiding in the literature of the final years of the USSR. It now seems clear that what I needed was a brief detour from the Bored Addict tone I found in much of contemporary American fiction, an approach to technology that often read less like an inventive artistic gesture than a servile bow to realism. For much of the pandemic, I was bored. I was addicted to technology. It’s hard to explain then exactly what I wanted from art, but the simplest way I can say it is: I didn’t want to read about people who were in similar spots to me, and I didn’t want to overdo it by reading about people who were in far worse spots than me, but I did very much want to think critically about what I was going through, and I also wanted to refract this experience via art that was foreign yet immediately recognizable. This, then, maybe explains how I wound up in Soviet sci-fi, which is a term I am not qualified to employ any single word of. I began my reading journey without a strong grasp of Soviet history; I am ending it still quite capable of failing any quiz offered me. Despite having recently published a novel, Test Drive, that occasionally gets labeled as science fiction, I have never been exceptionally versed in the terminological debates around the genre. I am a citizen of the sentence first and foremost, and so when I read Pelevin uncorking a massive, soaring line from within Omon’s young consciousness, I did not think: “does this qualify as Soviet if it’s about the Soviet space program but it’s published in 1991?” I read that rocket of an early line and thought: I am on the readerly correct path; I will soon learn things from the geographically distant past about my own claustrophobic present. * I did learn things. The more I read, the more it started to make sense that Soviet writers would be so preternaturally gifted at envisioning future realities, given the political challenges they faced if they attempted to write bracingly about the present. In the introduction to The Ultimate Threshold: A Collection of the Finest in Soviet Science Fiction, translator Mirra Ginsburg outlines how much of the work in the collection was written under the “vigilant eye of those who hold that art and literature must serve,” those who demand that Soviet art display “the wretched destinies of the non-Communist world.” The best of the genre, Ginsburg argues, “ignores the pressures and continues to create free and valid works of the imagination.” This sentiment is echoed by Ursula Le Guin, in her introduction to Arkady and Boris Strugatsky’s Roadside Picnic: “Soviet writers had been using science fiction for years to write with at least relative freedom from Party ideology about politics, society, and the future of mankind.” These heroic depictions of Soviet sci-fi writers can make it seem as though the best work in the genre is that which confronts and bursts through every oppositional force, yet I confess that the more directly confrontational narratives didn’t especially resonate with me. In rereading much of Solaris author Stanislaw Lem’s work, I came to agree with a sentiment that Jonathan Lethem expressed in a recent London Review of Books feature about the Polish titan of sci-fi: “His targets in Memoirs [Found in a Bathtub]—organized Christianity, self-referential academic scholarship, the state security apparatus—are fish in a barrel, which, rather than shooting, he hammers to death.” I, too, didn’t want to read critiques that hammered away at institutions and ideologies; I already had Twitter. It would be corny but accurate to say that I was instead seeking a feeling of hope via fiction. I wanted to find some person or place, either in the historical past or imagined future, that offered a road map for how to escape my own little rocket ship, where Zoom-versions of classes and readings and other human events once core to my identity and existence played on an endless loop. What I found was not a roadmap for escaping my circumstances but a strategy for how to operate within them. I discovered this approach in the Strugatskys’ Roadside Picnic, a book I fell so hard for that I have said aloud, more than once, and only half in jest, that it is the greatest literary work in any language or any genre, ever. The gist: a “highly advanced alien civilization” visits Earth, but no human sees them arrive or depart. Their “Visit,” as it comes to be known, leaves behind strange, dangerous aftereffects in six neighborhood-like “zones” around Earth (for instance: step in the residual hell slime, and your leg bones might melt). The Strugatsky brothers chart the predictable human responses to the Visit: scientists seek to study the almost supernatural effects on the human objects in these zones, government types attempt to weaponize them, mobsters gin up a decent life by trafficking items to and fro. So-called “stalkers,” the Indiana Joneses of the zones, facilitate much of this activity via their artifact retrieval. The interpretations of Roadside Picnic have occupied a similarly diverse, predictable range. Some theorists believe it is clearly the work of Soviet dissidents. Others say it’s obviously a pro-Soviet critique of capitalism, given how the zones cram the world with dangerous everyday items that people waste their lives obsessing over. These competing interpretations exist because Roadside Picnic doesn’t “hammer,” to use Lethem’s verb. The story itself offers multiple reasons for the genesis of the Visit. The novel takes its name from one such theory, offered up by the story’s Nobel Prize-winning physicist, Dr. Valentine Pillman. Dr. Pillman is credited with aptly theorizing the location of the zones (“Imagine taking a large globe, giving it a good spin, then firing a few rounds at it”), but the theory is all “how”; the “why” has remained a mystery. When asked in a cozy booth at a “good old fashioned pub” what he really thinks of the Visit, 13 years removed, Dr. Pillman sets his coffee aside. He lights a cigarette. “Imagine,” Dr. Pilman says, a car pulls off the road into the meadow and unloads young men, bottles, picnic baskets, girls, transistor radio, cameras.… A fire is lit, tents are pitched, music is played. And in the morning, they leave. The animals, the birds, and insects that were watching the whole night in horror crawl out of their shelters. And what do they see? An oil spill, a gasoline puddle, old spark plugs and oil filters strewn about…Scattered rags, burnt-out bulbs, someone has dropped a monkey wrench. The wheels have tracked mud from some godforsaken swamp…and, of course, there are the remains of the campfire, apple cores, candy wrappers, tins, bottles, someone’s handkerchief, someone’s penknife, old ragged newspapers, coins, filtered flowers from another meadow….” In other words, the objects that scientists are studying and that mobsters are trafficking and that governments are weaponizing could be, in this reading, little more than refuse from some “picnic by the side of some space road.” The scientist says that it’s “not even a hypothesis, really, but an impression,” and this impression, at least initially, became my organizing principle for how to frame my own digital activity during the pandemic. It suddenly seemed obvious—everything in the online zones where I spent my days was just random radioactive trash. The trending topics section of Twitter was a total, complete, and utter roadside picnic of whichever politician doubted science or performed racism. Touching any of it would dissolve the bones of my day. If the pandemic was going to turn me into the astronaut in Mityok’s tiny doorless ship, and if the various gauges on all the screens were going to bombard me with junk, the trick, it seemed, would be discipline, if not outright avoidance. Don’t click, don’t even look—it might melt you. And yet I soon realized that this framing undersold the degree to which Roadside Picnic functions as an effective capitalist critique—and, to be more specific, a critique of me. I am someone who has opined publicly and at length about driverless cars and cryptocurrency, the latter of which in particular is a topic that screams—screams—“this topic is covered in a kind of hell slime that will draw attention to your handling of it but will also probably mutilate your leg bones and also your soul.” I, like a Strugatsky “stalker” creeping into the zones to retrieve artifacts, have waded into online discourses so as to extract observations and news, then repackaged my findings as “analysis” for my own writerly profit. If capitalism is a kind of gangsterism, a seizing and reselling of whatever can be seized and sold, then Twitter was my perpetual, trashy roadside picnic where I could always find things to write about. It got worse. I didn’t merely stalk these artifacts and sell my takes. I was, year after year, repackaging these efforts in my academic review file, demonstrating that my “stalking” was in fact an act of scholarship. Then, then, not content to merely play the role of “scholar” or “stalker,” I started exploring a new kind of backstage gangsterism; in an attempt to promote a forthcoming novel that was a rather pointed critique of the driverless car sector and tech sector at large, I began participating in the politely seedy black market of literary promotion—I give a review and you get a galley, an interview done over there to get a podcast appearance here, all of it about tech and the future, sure, sure, but all of it also very much about the digital space I can occupy in that future. In the first year of the pandemic, I would often say, “That right there is a real roadside picnic, and I refuse to touch it.” In the second, I found myself saying: “Christ, I am hopelessly enmeshed in this roadside picnic.” * As the third pandemic March began, so too did a new phase of my journey through Soviet sci-fi. It was at this point that I realized that the many people to whom I had professed my love for this genre now wanted to know if I had any special insight about the atrocities in Ukraine. (I don’t.) It now seems quite clear that I have spent the pandemic not reading Soviet sci-fi but misreading it—divorcing it from its various contexts and instead injecting it hungrily into my own American veins, the kinds of veins that pump blood around a person who can freely say ridiculous, privileged things like “I am a citizen of the sentence.” I confess that I became somewhat disinterested in constructing context around Soviet sci-fi after an especially revealing instance in which context was seemingly stifled. Earth and Elsewhere, an anthology of Soviet sci-fi novellas published in 1985, is the only anthology I have ever held that does not have an introduction, afterword, or writerly profiles. The book has scant jacket copy. It feels like a risky document, a monolithic one, as though a Soviet editor handed an unmarked envelope containing five novellas to an American counterpart on a park bench in [redacted]. To contextualize and interpret these imagined futures—to stand in front of the work with a clarifying signifier of any sort—would be to endanger the project and its writer. At the time, it felt like that was all the context about what it was and is like to write, publish, and edit in what is now Russia. I have thought often of the absence of explicit context in Earth and Elsewhere while watching Russian protestors stand quite publicly and quite dangerously in places like Moscow and St. Petersburg. The protestors have not remained in their little Mityokian cockpits. They have not examined the trash of their society and said “I’m steering clear of that roadside picnic,” nor do they seem to be asking “how can I profit from this roadside picnic.” The protestors have created and literalized a context for the Russian invasion of Ukraine, recording, with their bodies and for history, that large numbers of Russian citizens do not support this military act. The images I find myself lingering upon are those in which citizens raise their phones at the state, be it in the form of buildings or at police. The protesters have weighed their tools (phones and bodies) and also what events the state would find most disconcerting (large gatherings and unregulated broadcasts) and have wedged these tools into the proverbial socket of the Russian state. A similar calculation occurs in the most stunning inclusion in Earth and Elsewhere, “A Tale of Kings” by sentence goddess Olga Larionova. Larionova is laugh-out-loud-while-reading funny—the protagonist, Artem, shakes as he copes with his sudden immersion into a new strange reality, and slurps his beer “like a bear cub drinking milk from a baby bottle in a circus act.” She is what I would call a narrative riot, entertainingly slipping between third and first person then also “we” and “you”; she is a stranger telling stories at a wedding table, the kind you want to slyly Google and you just know she’ll be the best dancer but above all, you just want her to keep talking, forever. The idea of “forever” presents a problem for Artem, who is trapped in this bizarre metaverse with a strange girl. The two are alone, and though the altered reality bends to their needs, nothing ever really happens. Artem begins to correctly guess “that they were in the power of some insane but omnipotent maniac, and the only question was how long the insanity would remain within the bounds of the harmless.” Artem and the girl continually fail to crack the code of their existence, until Artem arrives at what he sees to be a final calculation: burn down their environment. He begins lighting newspapers on fire, hoping to ignite the house, the experiment, themselves. The plan: “If they had been dragged here, and this demonic pavilion created for them, and they were fed and every reasonable desire was satisfied, that meant someone needed them very badly. So now this ‘someone’ would have to take steps to save his living exhibit.” On cue, an alien arrives. The creature did not respond to multiple pleas. It did not respond to some of Artem’s riskier explorations. This creature responded only when its carefully designed system was under a terminal threat. The alien’s appearance does not solve the drama in “A Tale of New Kings.” It merely starts a new phase of it, one in which the characters realize that power does not bow to mere customer complaints. Ukrainians are long past this point of acceptance when it comes to confronting their neighbors. Anti-war dissidents in Russia, too, are past the point of polite rebuttal, and in the first weeks of the invasion, my own Soviet sci-fi reading habit felt silly and safe. To read fiction that had originated from an imperiled part of the world in private felt like an insignificant act when people around me were marching and fundraising and hanging flags. Yet months later, these activities have receded or achieved stasis, and Americans have, by and large, responded to the crisis in Ukraine by obsessively discussing gas prices. We have exited the lockdown phase of the pandemic, escaping our technological entombments and emerged into the tomb that is America, and as I grapple with this transition, I find myself returning to the same Soviet sci-fi texts two years later, drawing more inspiration and direction now than I did then. These novels, stories, and anthologies are full of big sentences and big ideas, most of which concern how to be a human in an oppressive power structure. They are full of brilliantly drawn characters, some of whom escape oppression, though tellingly, when they flee, the texture of that structure remains intact. Other characters work the margins for profit, but again: there’s no change to the system, and in fact, the characters in this arrangement wind up dependent on the power structure. Confrontation, then—not escape, not capitalization—is the only avenue that leads to transformation. The apex of such an effort might resemble the anti-war protests in Russia and certainly the Ukrainian resistance. At present, I’m most drawn to characters whose resistance starts with a mere thought, like the one Larionova’s Artem has while negotiating with the alien: “I’m thinking that you are a computer son of a bitch, immortal perverts who call themselves gods but who are powerless to force me to do their bidding.” [millions_email]