Sweet Valley High #1: Double Love

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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]

Time for Teen Fantasy Heroines to Grow Up

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1. Catching Fire, the follow-up to Hunger Games, opens this Friday, and the future of teen fantasy film may depend on its success. When The Mortal Instruments: City of Bones tanked at the box office in August, critics rejoiced over the apparent death of the genre. A few months earlier in March, The Host had also flopped, winning the distinction of being the last film Roger Ebert ever panned. BuzzFeed writer Jordan Zakarin concluded that the “tween vampire jugular is tapped.” In the Atlantic, Gina Dalfonzo suggested that teenage girls nursed on Twilight had finally seen through the hackneyed “Chosen One” story trope, a plot-line that has held its own since the Book of Esther. Writing more pragmatically in Forbes, Scott Mendelson blamed City of Bones's floundering on bad marketing. Despite this failure, the actual book by Cassandra Clare was a roaring success, selling more than 16 million copies worldwide. Though the teen fantasy craze may be on the downslope, it is not quite dead; rather, the supernatural romances of Twilight and its ilk have yielded to the dystopian universe of Suzanne Collins’s Hunger Games Trilogy. The first film adaptation grossed $691 million last year, and with a fresh crop of middle-schoolers looking for signposts to their own significance, the second installment’s curtain raise is likely to be well-attended. Though publishers distinguish between supernatural, paranormal romance, and dystopia, these genres all involve an element of fantasy. HarperCollins editor Kari Sutherland told me that since 2010 the company has tripled its number of such titles, which include the wildly successful Divergent and Delirium series. Scholastic, publisher of The Hunger Games, said these books have played an “intrinsic” role in the increase of titles it’s sold in the past five years. Fantasies can be valuable testaments to the power of literature, allowing readers to work out real-world problems in a metaphorical context and encouraging creativity, courage, and self-sacrifice. But it would be a mistake to assume that the same girl who sped through Twilight and Hunger Games will easily find her way to The Martian Chronicles or even contemporary fantasy’s immediate forbearers — works by authors like Tamora Pierce or Robin McKinley. Teens today aren’t genre nerds who only love fantasy. According to Ms. Sutherland, they read these books because it’s what their friends are reading. But how did they become so popular? And what do they have to say — specifically to their young, female readers — about the world? 2. Before the American Civil War, the idea of writing books for teenagers didn’t cross the minds of American publishers. It was only in the 1860s that popular novels for girls like the Elsie Dinsmore series appeared, featuring saintly, passive heroines whose lives revolved around the home. But a demand also grew for blood-and-thunder romances that expressed an underlying feminine ennui as much as they negatively implicated the women reading them. The heroines of these tales were usually embroiled in a lurid affair between suitors or some other form of love-gone-awry that threatened their virginity. These women — the evolutionary ancestors of today’s high-grossing teen heroines — were seen to confirm upper class assumptions about the promiscuity of the lower class. Louisa May Alcott's first story, a psycho-thriller novella called Pauline's Passion and Punishment, followed a jilted woman’s quest for revenge against a lover who leaves her for a wealthy woman. In 1862, after it was published under the pen name of A. M. Barnard, Alcott wrote to her friend Alf Whitman: "I get ten dollars a page for my foolish little story...money is the end & aim of my mercenary existence I scribble away." Even after she became a famous writer, Alcott continued churning out pulp fiction for the tabloids. "Perilous Play" of 1869 ends memorably with its heroine exclaiming, "Heaven bless hashish, if its dreams end like this!" But squeaky-clean domestic romances remained the more socially acceptable reading choice until the turn of the century, when publishers like The Henry Altemus Company concluded that "girls as well as boys love adventure." The Stratemeyer Syndicate published 85 new girls’ series between 1910 and 1920 starring young women who played basketball, drove cars, helped the poor, solved mysteries, and even made movies. Most of all, they went to college. The historian Jane S. Smith has noted that less than four percent of college-aged American girls attended university in 1910, “but it was a rare heroine of fiction who did not take a room on the campus green, where she studied biology and Latin, drank cocoa with her kimono-clad chums and upheld the school traditions with moist-eyed fervor." These books captured the spirit of the Suffragettes, who in 1913 marched on the Washington Mall to demand women’s equality. The popular Ruth Fielding Series (1913-1934) was about an orphan living with a mean uncle who disapproves of her desire for a future outside the home. Smart and ambitious, Ruth works hard in school, goes to college, wins a film-writing contest and even starts her own production company. In book #15, Ruth Fielding Homeward Bound (1919), the narrator explains, “Marriage was something very far ahead in the future, if Ruth … thought of it at all.” When Ruth’s boyfriend Tom proposes in book #19, Ruth Fielding on the St. Lawrence (1922), she feels that “to do as Tom wished would utterly spoil the career on which she had now entered so successfully. Tom, like most young men in love, considered that a girl's only career should be a husband and a home...she wanted to live her own life.” It’s ironic, as Smith has noted, that bettering one’s self through college or career fell out of focus in teen fiction not long after women got the vote. By the 1980s, suburban dramas in the vein of Sweet Valley High and The Baby-Sitter’s Club predominantly reigned. 3. One night in 2003, Stephenie Meyer had a dream about vampires and woke up the next morning to begin writing the first Twilight book, a nearly 500-page tome. Within five years the first Twilight film appeared, launching a franchise, and by extension, a phenomenon. Though girls devoured the series in cinematic and print form (I once saw a first edition at Half-Price Books valued at $600), critics spared no kindness on its 17-year-old heroine, “Bella” Swan: “Neither [Edward or Bella] has much personality to speak of.” — Salon “[Bella] is not only hard to identify with but positively horrifying...” — Entertainment Weekly “It’s hard to say which is more difficult to swallow: Bella’s perpetually low self-worth, or the fact that all the other characters are obsessed with her...young readers are left with the image of a girl who discovers her own worth and gets all she ever wanted, by giving up her identity and throwing away nearly everything in life that matters.” — National Review "...the overall effect is a weird infantilization that has repellent overtones to an adult reader and hardly seems like an admirable model to foist upon our daughters (or sons)." — Washington Post And a final, damning rebuke: “You can't get away from a strange paradox. Women are using their regained power over the picture house to trash their hard-won independence. What mysterious creatures they are.” — The Guardian Branding youth culture as obscene or degrading is old hat — and teens don’t care. After the first Twilight film, Bella (Kristin Stewart) became a de facto role model for young women — the instantaneous object of their envy, praise, and imitation. The internet was rife with articles and YouTube videos instructing girls how to dress like Bella, apply their makeup like Bella, and, most frighteningly, act like Bella. In one video, a girl earnestly advised viewers to be “clumsy and accident-prone.” Clothing brand BB Dakota even replicated for mass production the jacket Bella wore in the film. Bella singlehandedly set the stage for an army of similar teen heroines that came after her — ones who share more in common with Alcott’s Pauline or even Elsie Dinsmore than Ruth Fielding. In fact, the sting of Twilight intensifies when one compares the book to Girl of the Limberlost (1908), a young adult novel authored by Gene Stratton-Porter and published a full hundred years before Twilight premiered in theaters. Both Elnora Comstock, author Gene Stratton-Porter’s 16-year-old heroine, and Bella Swan are Cinderella archetypes. Twilight opens when Bella moves to the leafy town of Forks, Washington to live with her dad, since her mom is preoccupied doting on a boyfriend. Elnora’s father is dead, and she lives in rural Indiana with her mother, a grief-stricken tyrant. Each, in their own ways, are loners. Though friends flock around Bella at school, she tells the reader, “I didn’t relate well to people my age... Maybe the truth was that I didn’t relate well to people, period.” While Bella may feel like an outsider, Elnora is one. Snubbed for her old-fashioned clothes, she becomes a pariah on her first day of high school and eats her lunch alone. Both girls also spend their time wandering the woods near their homes. Bella’s activities in the lush Northwest forest involve chasing around her love interest, a vampire named Edward Cullen (or more often, joyriding on his back). Elnora works quietly in the swampy Limberlost, where her own father drowned, collecting rare moths to sell so she can buy schoolbooks and save money for college. But at the heart of Twilight lies something else almost more sinister than its treatment of romance. The more Bella submits to Edward’s charms, the closer she gets to the end of her human life and the beginning of her undead one. Coupled with her disinterest in the outside world, her desire for Edward becomes a death wish — fulfilled when she is finally bitten by him and becomes herself a vampire. If this sounds twisted, remember that it’s the ending that most Twilight readers hoped for. This hunger for death is countered in Limberlost not only by Elnora’s resilience against life’s blows but also by the forest’s own struggle to survive industrialization. Like Edward’s deadly effect on Bella, Elnora’s foraging in the Limberlost threatens it. A family friend warns her, “Each year you will find less in the swamp, and things everywhere will be scarcer.” By the time she graduates high school, the forest is not what it used to be. Still, Mrs. Comstock, who owns a large swath of the land, refuses to sell it to developers. Life pushes back against destruction for the conservation of a fragile but crucial habitat. To a modern reader, Limberlost is sentimental, almost saccharine, and though it encourages independence it ultimately bows to the conventions of its era when, towards the end, Elnora reveals her perception of being a wife: “I understood that to mean that he desired me to keep him a clean house, serve him digestible food, mother his children, and give him loving, sympathy, and tenderness,” she says. But in a time when few women went to college, Elnora’s ambition was a brave push into new territory, inspiring readers with aspirations for their own futures. What hope did Bella inspire? 4. The author Lauren Oliver credited her inspiration for the dystopian teen romance Delirium to Gabriel Garcia Marquez, who wrote that all great books were about love and death. Throughout literary history, these twin subjects have been the core of many great novels (Anna Karenina) as well as many bad ones. As Twilight demonstrated, teen fantasy authors have taken up these themes with a special fervor, but no one has handled them as ruthlessly as Suzanne Collins in the Hunger Games Trilogy. Writing in Salon, critic Laura Miller has praised Katniss Everdeen, Collins’s strong-willed 16-year-old heroine, as an improvement on Bella: Bella Swan is clumsy and largely helpless, a rescue object for Edward and Jacob... Katniss is a tough and competent woodswoman and sharpshooter. Bella is willing to give up everything — her family, friends, previous life, even her humanity — to dote on her beloved Edward for eternity; Katniss sacrifices herself for her mother and sister. Indeed, Katniss has far more in common with Elnora. She also spends her days in a forest, hunting not moths but meat to sell on the black market. The resemblance between the two is uncanny. Like Elnora’s father, Katniss’s father is dead and her mother also emotionally invalid; just as Elnora inherits her father’s grace with the violin, Katniss has her father’s rich talent for song. Both characters struggle to survive in a dangerous environment. Thieves have overrun Elnora’s forest and warn her to keep out; her father’s bones, we are told, rest in the swampy pool bottom where he drowned. Yet somehow the Limberlost’s dangers don’t overwhelm her. Katniss’s post-apocalyptic home of Panem terrorizes her. Food is scarce; mutant birds and insects threaten; and hunting is a crime penalized by death  As punishment for a past rebellion, each of the nation’s 12 districts sacrifices two “tributes” to compete in an annual reality show where the winner is the last one alive. Here, dystopia reaches into every corner of life — even love. Along with a boy named Peeta, Katniss represents her district in the 74th annual games. Though Katniss never had romantic feelings for him before the Games, she pretends to return Peeta’s affection in order to “give the audience something more to care about,” and it’s this complex brand of romance that becomes her main tool for survival. Critics have applauded Collins for subverting standard romantic hooks, but this faux love story actually draws many Hunger Games fans, who debate aggressively online over the respective hotness of Peeta and Gale, Katniss’s childhood friend. Though Katniss eventually becomes a hero, up until page 156 of the first book, her internal struggles revolve around her conflicted emotions toward Peeta and Gale, not on the ethical dilemma of having to kill people. In chapter 10, Peeta — who faces the same pressures as Katniss — tells her that his goal is to stay true to himself, even until death: “I’m more than just a piece in their Games... Don’t you see?” Katniss replies, “A little... but who cares, Peeta?” Dystopian novels are provocative avenues through which readers can explore and even question their civic relationship to government, but Collins’s series fosters an especially grotesque worldview. The words “dead,” “dying,” and “death” appear more than 300 times in the series. In Catching Fire, Katniss and Peeta are again chosen to compete in a special edition of the bloodbath. When Katniss is wounded, the authorities nurse her to life because a quiet, private passing would be a loss for them. Later, Katniss resolves to kill Peeta “before the Capitol gets to choose the agonizing means of his death.” As Mockingjay opens, she stumbles through the bombed-out landscape of District 12, tripping on human skulls and breathing in the ashes of the dead. When the couple finally defeat the Capitol, their victory feels pyrrhic at best. With most of their families dead (and Katniss’s initial sacrificing of herself for her sister rendered pointless), they marry, and nightmares haunt them always. Readers are left to untangle the book’s intimations about the real world for themselves. They may wonder: if the world really is that hopeless, what’s the point of striving for anything at all? In comparison to Collins’s dark tale, Daniel Woodrell’s noiresque Winter’s Bone — whose 2010 film version also starred Jennifer Lawrence — seems strangely light. The fact that the novel, published in 2006, was not marketed to teenage girls is almost — but not quite — surprising. Its heroine, 17-year-old Ree Dolly, shares many similarities to Bella, Katniss, and Elnora. Living in the Ozark woods and hunting squirrels to feed her family, she also searches for her father, a meth cook who has gone missing. If he doesn’t turn up for his court date, her mother and siblings will be forced out of their home. There is no romance here; Ree mostly dreams of leaving the Ozarks and joining the Army. But in the end, she preserves her family home by confronting her father’s death in its most horrifying physical form. When the film version came out in 2010, David Edelstein noted in New York Magazine, “For all the horror, it’s the drive toward life, not the decay, that lingers in the mind. As a modern heroine, Ree Dolly has no peer...” New Yorker critic David Denby called Winter’s Bone “one of the greatest feminist works in film.” 5. Literature may not be about easy answers, but some of the best books bring some level of clarity to the reader within their nuanced explorations of the world — even if that clarity means that they find the answers are grayer than they thought. The problem with Twilight and Hunger Games is that while operating in a seemingly black-and-white world they actually infect their readers with chaos: Twilight by exploiting its audience’s desire to completely escape reality, and Hunger Games by cementing its readers’ fears that there is nothing beyond the darkness. The value of books like Girl of the Limberlost and Winter’s Bone is that while acknowledging the world’s ugliness, they carve a path of resilience the reader can follow. Though many teen readers lead average, suburban lives, they live in an information age rife with anxiety. Their social worlds, artificially reorganized online through social media, are open to endless bullying. Threats of nuclear war, environmental destruction, and domestic terrorism loop continuously on the nightly news. AMC — who owned the venue in which the Aurora shooting occurred and in whose franchises many fans will line up to see Catching Fire’s premiere — now runs a cautionary commercial about how to act in the case of such a catastrophe. In the midst of these uncertainties, let alone the hormonal depression from which many already suffer, the fashion and beauty industries fuel the pressure to look and act perfect. In her article, Dalfonzo wrote, “It might be that, far from wanting to watch other kids save the world time and again, kids would like to watch them just being kids.” But  kids don’t just want to watch kids being kids. They want to step into the shoes of ordinary kids doing extraordinary things. I asked David Levithan, Scholastic’s vice president and editorial director, whether such books might be a way for girls to escape the real world. He explained that most successful fantasy literature is actually deeply relatable to the reader: “The themes (survival in Hunger Games, unrequited love in Twilight, etc.) are completely real even if the situations are not.” Within this milieu, authors as influential as Meyer and Collins have the opportunity to inspire their readers toward greatness, but they squander it miserably. Neither Bella nor Katniss have dreams that transcend their current situations. Yet, in the famous words of Tolkien, not all who wander are lost. Louisa May Alcott may have written sensational vampire stories, but she also wrote Little Women, a classic I first read in middle school that taught me I could do or be anything, and that my uneventful life was filled with meaning. I’m not betting on Meyer or Collins to create her, but I’d like to think another Jo March might still be out there.