The Stand: Expanded Edition: For the First Time Complete and Uncut (Signet)

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Most Anticipated: The Great Spring 2024 Preview

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April April 2 Women! In! Peril! by Jessie Ren Marshall [F] For starters, excellent title. This debut short story collection from playwright Marshall spans sex bots and space colonists, wives and divorcées, prodding at the many meanings of womanhood. Short story master Deesha Philyaw, also taken by the book's title, calls this one "incisive! Provocative! And utterly satisfying!" —Sophia M. Stewart The Audacity by Ryan Chapman [F] This sophomore effort, after the darkly sublime absurdity of Riots I have Known, trades in the prison industrial complex for the Silicon Valley scam. Chapman has a sharp eye and a sharper wit, and a book billed as a "bracing satire about the implosion of a Theranos-like company, a collapsing marriage, and a billionaires’ 'philanthropy summit'" promises some good, hard laughs—however bitter they may be—at the expense of the über-rich. —John H. Maher The Obscene Bird of Night by José Donoso, tr. Leonard Mades [F] I first learned about this book from an essay in this publication by Zachary Issenberg, who alternatively calls it Donoso's "masterpiece," "a perfect novel," and "the crowning achievement of the gothic horror genre." He recommends going into the book without knowing too much, but describes it as "a story assembled from the gossip of society’s highs and lows, which revolves and blurs into a series of interlinked nightmares in which people lose their memory, their sex, or even their literal organs." —SMS Globetrotting ed. Duncan Minshull [NF] I'm a big walker, so I won't be able to resist this assemblage of 50 writers—including Edith Wharton, Katharine Mansfield, Helen Garner, and D.H. Lawrence—recounting their various journeys by foot, edited by Minshull, the noted walker-writer-anthologist behind The Vintage Book of Walking (2000) and Where My Feet Fall (2022). —SMS All Things Are Too Small by Becca Rothfeld [NF] Hieronymus Bosch, eat your heart out! The debut book from Rothfeld, nonfiction book critic at the Washington Post, celebrates our appetite for excess in all its material, erotic, and gluttonous glory. Covering such disparate subjects from decluttering to David Cronenberg, Rothfeld looks at the dire cultural—and personal—consequences that come with adopting a minimalist sensibility and denying ourselves pleasure. —Daniella Fishman A Good Happy Girl by Marissa Higgins [F] Higgins, a regular contributor here at The Millions, debuts with a novel of a young woman who is drawn into an intense and all-consuming emotional and sexual relationship with a married lesbian couple. Halle Butler heaps on the praise for this one: “Sometimes I could not believe how easily this book moved from gross-out sadism into genuine sympathy. Totally surprising, totally compelling. I loved it.” —SMS City Limits by Megan Kimble [NF] As a Los Angeleno who is steadily working my way through The Power Broker, this in-depth investigation into the nation's freeways really calls to me. (Did you know Robert Moses couldn't drive?) Kimble channels Caro by locating the human drama behind freeways and failures of urban planning. —SMS We Loved It All by Lydia Millet [NF] Planet Earth is a pretty awesome place to be a human, with its beaches and mountains, sunsets and birdsong, creatures great and small. Millet, a creative director at the Center for Biological Diversity in Tucson, infuses her novels with climate grief and cautions against extinction, and in this nonfiction meditation, she makes a case for a more harmonious coexistence between our species and everybody else in the natural world. If a nostalgic note of “Auld Lang Syne” trembles in Millet’s title, her personal anecdotes and public examples call for meaningful environmental action from local to global levels. —Nathalie op de Beeck Like Love by Maggie Nelson [NF] The new book from Nelson, one of the most towering public intellectuals alive today, collects 20 years of her work—including essays, profiles, and reviews—that cover disparate subjects, from Prince and Kara Walker to motherhood and queerness. For my fellow Bluets heads, this will be essential reading. —SMS Traces of Enayat by Iman Mersal, tr. Robin Moger [NF] Mersal, one of the preeminent poets of the Arabic-speaking world, recovers the life, work, and legacy of the late Egyptian writer Enayat al-Zayyat in this biographical detective story. Mapping the psyche of al-Zayyat, who died by suicide in 1963, alongside her own, Mersal blends literary mystery and memoir to produce a wholly original portrait of two women writers. —SMS The Letters of Emily Dickinson ed. Cristanne Miller and Domhnall Mitchell [NF] The letters of Emily Dickinson, one of the greatest and most beguiling of American poets, are collected here for the first time in nearly 60 years. Her correspondence not only gives access to her inner life and social world, but reveal her to be quite the prose stylist. "In these letters," says Jericho Brown, "we see the life of a genius unfold." Essential reading for any Dickinson fan. —SMS April 9 Short War by Lily Meyer [F] The debut novel from Meyer, a critic and translator, reckons with the United States' political intervention in South America through the stories of two generations: a young couple who meet in 1970s Santiago, and their American-born child spending a semester Buenos Aires. Meyer is a sharp writer and thinker, and a great translator from the Spanish; I'm looking forward to her fiction debut. —SMS There's Going to Be Trouble by Jen Silverman [F] Silverman's third novel spins a tale of an American woman named Minnow who is drawn into a love affair with a radical French activist—a romance that, unbeknown to her, mirrors a relationship her own draft-dodging father had against the backdrop of the student movements of the 1960s. Teasing out the intersections of passion and politics, There's Going to Be Trouble is "juicy and spirited" and "crackling with excitement," per Jami Attenberg. —SMS Table for One by Yun Ko-eun, tr. Lizzie Buehler [F] I thoroughly enjoyed Yun Ko-eun's 2020 eco-thriller The Disaster Tourist, also translated by Buehler, so I'm excited for her new story collection, which promises her characteristic blend of mundanity and surrealism, all in the name of probing—and poking fun—at the isolation and inanity of modern urban life. —SMS Playboy by Constance Debré, tr. Holly James [NF] The prequel to the much-lauded Love Me Tender, and the first volume in Debré's autobiographical trilogy, Playboy's incisive vignettes explore the author's decision to abandon her marriage and career and pursue the precarious life of a writer, which she once told Chris Kraus was "a bit like Saint Augustine and his conversion." Virginie Despentes is a fan, so I'll be checking this out. —SMS Native Nations by Kathleen DuVal [NF] DuVal's sweeping history of Indigenous North America spans a millennium, beginning with the ancient cities that once covered the continent and ending with Native Americans' continued fight for sovereignty. A study of power, violence, and self-governance, Native Nations is an exciting contribution to a new canon of North American history from an Indigenous perspective, perfect for fans of Ned Blackhawk's The Rediscovery of America. —SMS Personal Score by Ellen van Neerven [NF] I’ve always been interested in books that drill down on a specific topic in such a way that we also learn something unexpected about the world around us. Australian writer Van Neerven's sports memoir is so much more than that, as they explore the relationship between sports and race, gender, and sexuality—as well as the paradox of playing a colonialist sport on Indigenous lands. Two Dollar Radio, which is renowned for its edgy list, is publishing this book, so I know it’s going to blow my mind. —Claire Kirch April 16 The Notebooks of Sonny Rollins by Sonny Rollins [NF] The musings, recollections, and drawings of jazz legend Sonny Rollins are collected in this compilation of his precious notebooks, which he began keeping in 1959, the start of what would become known as his “Bridge Years,” during which he would practice at all hours on the Williamsburg Bridge. Rollins chronicles everything from his daily routine to reflections on music theory and the philosophical underpinnings of his artistry. An indispensable look into the mind and interior life of one of the most celebrated jazz musicians of all time. —DF Henry Henry by Allen Bratton [F] Bratton’s ambitious debut reboots Shakespeare’s Henriad, landing Hal Lancaster, who’s in line to be the 17th Duke of Lancaster, in the alcohol-fueled queer party scene of 2014 London. Hal’s identity as a gay man complicates his aristocratic lineage, and his dalliances with over-the-hill actor Jack Falstaff and promising romance with one Harry Percy, who shares a name with history’s Hotspur, will have English majors keeping score. Don’t expect a rom-com, though. Hal’s fraught relationship with his sexually abusive father, and the fates of two previous gay men from the House of Lancaster, lend gravity to this Bard-inspired take. —NodB Bitter Water Opera by Nicolette Polek [F] Graywolf always publishes books that make me gasp in awe and this debut novel, by the author of the entrancing 2020 story collection Imaginary Museums, sounds like it’s going to keep me awake at night as well. It’s a tale about a young woman who’s lost her way and writes a letter to a long-dead ballet dancer—who then visits her, and sets off a string of strange occurrences. —CK Norma by Sarah Mintz [F] Mintz's debut novel follows the titular widow as she enjoys her newfound freedom by diving headfirst into her surrounds, both IRL and online. Justin Taylor says, "Three days ago I didn’t know Sarah Mintz existed; now I want to know where the hell she’s been all my reading life. (Canada, apparently.)" —SMS What Kingdom by Fine Gråbøl, tr. Martin Aitken [F] A woman in a psychiatric ward dreams of "furniture flickering to life," a "chair that greets you," a "bookshelf that can be thrown on like an apron." This sounds like the moving answer to the otherwise puzzling question, "What if the Kantian concept of ding an sich were a novel?" —JHM Weird Black Girls by Elwin Cotman [F] Cotman, the author of three prior collections of speculative short stories, mines the anxieties of Black life across these seven tales, each of them packed with pop culture references and supernatural conceits. Kelly Link calls Cotman's writing "a tonic to ward off drabness and despair." —SMS Presence by Tracy Cochran [NF] Last year marked my first earnest attempt at learning to live more mindfully in my day-to-day, so I was thrilled when this book serendipitously found its way into my hands. Cochran, a New York-based meditation teacher and Tibetan Buddhist practitioner of 50 years, delivers 20 psycho-biographical chapters on recognizing the importance of the present, no matter how mundane, frustrating, or fortuitous—because ultimately, she says, the present is all we have. —DF Committed by Suzanne Scanlon [NF] Scanlon's memoir uses her own experience of mental illness to explore the enduring trope of the "madwoman," mining the work of Charlotte Perkins Gilman, Virginia Woolf, Sylvia Plath, Audre Lorde, and others for insights into the long literary tradition of women in psychological distress. The blurbers for this one immediately caught my eye, among them Natasha Trethewey, Amina Cain, and Clancy Martin, who compares Scanlon's work here to that of Marguerite Duras. —SMS Unrooted by Erin Zimmerman [NF] This science memoir explores Zimmerman's journey to botany, a now endangered field. Interwoven with Zimmerman's experiences as a student and a mother is an impassioned argument for botany's continued relevance and importance against the backdrop of climate change—a perfect read for gardeners, plant lovers, or anyone with an affinity for the natural world. —SMS April 23 Reboot by Justin Taylor [F] Extremely online novels, as a rule, have become tiresome. But Taylor has long had a keen eye for subcultural quirks, so it's no surprise that PW's Alan Scherstuhl says that "reading it actually feels like tapping into the internet’s best celeb gossip, fiercest fandom outrages, and wildest conspiratorial rabbit holes." If that's not a recommendation for the Book Twitter–brained reader in you, what is? —JHM Divided Island by Daniela Tarazona, tr. Lizzie Davis and Kevin Gerry Dunn [F] A story of multiple personalities and grief in fragments would be an easy sell even without this nod from Álvaro Enrigue: "I don't think that there is now, in Mexico, a literary mind more original than Daniela Tarazona's." More original than Mario Bellatin, or Cristina Rivera Garza? This we've gotta see. —JHM Prairie, Dresses, Art, Other by Danielle Dutton [NF] Coffee House Press has for years relished its reputation for publishing “experimental” literature, and this collection of short stories and essays about literature and art and the strangeness of our world is right up there with the rest of Coffee House’s edgiest releases. Don’t be fooled by the simple cover art—Dutton’s work is always formally inventive, refreshingly ambitious, and totally brilliant. —CK I Just Keep Talking by Nell Irvin Painter [NF] I first encountered Nell Irvin Painter in graduate school, as I hung out with some Americanists who were her students. Painter was always a dazzling, larger-than-life figure, who just exuded power and brilliance. I am so excited to read this collection of her essays on history, literature, and politics, and how they all intersect. The fact that this collection contains Painter’s artwork is a big bonus. —CK April 30 Real Americans by Rachel Khong [F] The latest novel from Khong, the author of Goodbye, Vitamin, explores class dynamics and the illusory American Dream across generations. It starts out with a love affair between an impoverished Chinese American woman from an immigrant family and an East Coast elite from a wealthy family, before moving us along 21 years: 15-year-old Nick knows that his single mother is hiding something that has to do with his biological father and thus, his identity. C Pam Zhang deems this "a book of rare charm," and Andrew Sean Greer calls it "gorgeous, heartfelt, soaring, philosophical and deft." —CK The Swans of Harlem by Karen Valby [NF] Huge thanks to Bebe Neuwirth for putting this book on my radar (she calls it "fantastic") with additional gratitude to Margo Jefferson for sealing the deal (she calls it "riveting"). Valby's group biography of five Black ballerinas who forever transformed the art form at the height of the Civil Rights movement uncovers the rich and hidden history of Black ballet, spotlighting the trailblazers who paved the way for the Misty Copelands of the world. —SMS Appreciation Post by Tara Ward [NF] Art historian Ward writes toward an art history of Instagram in Appreciation Post, which posits that the app has profoundly shifted our long-established ways of interacting with images. Packed with cultural critique and close reading, the book synthesizes art history, gender studies, and media studies to illuminate the outsize role that images play in all of our lives. —SMS May May 7 Bad Seed by Gabriel Carle, tr. Heather Houde [F] Carle’s English-language debut contains echoes of Denis Johnson’s Jesus’s Son and Mariana Enriquez’s gritty short fiction. This story collection haunting but cheeky, grim but hopeful: a student with HIV tries to avoid temptation while working at a bathhouse; an inebriated friend group witnesses San Juan go up in literal flames; a sexually unfulfilled teen drowns out their impulses by binging TV shows. Puerto Rican writer Luis Negrón calls this “an extraordinary literary debut.” —Liv Albright The Lady Waiting by Magdalena Zyzak [F] Zyzak’s sophomore novel is a nail-biting delight. When Viva, a young Polish émigré, has a chance encounter with an enigmatic gallerist named Bobby, Viva’s life takes a cinematic turn. Turns out, Bobby and her husband have a hidden agenda—they plan to steal a Vermeer, with Viva as their accomplice. Further complicating things is the inevitable love triangle that develops among them. Victor LaValle calls this “a superb accomplishment," and Percival Everett says, "This novel pops—cosmopolitan, sexy, and funny." —LA América del Norte by Nicolás Medina Mora [F] Pitched as a novel that "blends the Latin American traditions of Roberto Bolaño and Fernanda Melchor with the autofiction of U.S. writers like Ben Lerner and Teju Cole," Mora's debut follows a young member of the Mexican elite as he wrestles with questions of race, politics, geography, and immigration. n+1 co-editor Marco Roth calls Mora "the voice of the NAFTA generation, and much more." —SMS How It Works Out by Myriam Lacroix [F] LaCroix's debut novel is the latest in a strong early slate of novels for the Overlook Press in 2024, and follows a lesbian couple as their relationship falls to pieces across a number of possible realities. The increasingly fascinating and troubling potentialities—B-list feminist celebrity, toxic employer-employee tryst, adopting a street urchin, cannibalism as relationship cure—form a compelling image of a complex relationship in multiversal hypotheticals. —JHM Cinema Love by Jiaming Tang [F] Ting's debut novel, which spans two continents and three timelines, follows two gay men in rural China—and, later, New York City's Chinatown—who frequent the Workers' Cinema, a movie theater where queer men cruise for love. Robert Jones, Jr. praises this one as "the unforgettable work of a patient master," and Jessamine Chan calls it "not just an extraordinary debut, but a future classic." —SMS First Love by Lilly Dancyger [NF] Dancyger's essay collection explores the platonic romances that bloom between female friends, giving those bonds the love-story treatment they deserve. Centering each essay around a formative female friendship, and drawing on everything from Anaïs Nin and Sylvia Plath to the "sad girls" of Tumblr, Dancyger probes the myriad meanings and iterations of friendship, love, and womanhood. —SMS See Loss See Also Love by Yukiko Tominaga [F] In this impassioned debut, we follow Kyoko, freshly widowed and left to raise her son alone. Through four vignettes, Kyoko must decide how to raise her multiracial son, whether to remarry or stay husbandless, and how to deal with life in the face of loss. Weike Wang describes this one as “imbued with a wealth of wisdom, exploring the languages of love and family.” —DF The Novices of Lerna by Ángel Bonomini, tr. Jordan Landsman [F] The Novices of Lerna is Landsman's translation debut, and what a way to start out: with a work by an Argentine writer in the tradition of Jorge Luis Borges and Adolfo Bioy Casares whose work has never been translated into English. Judging by the opening of this short story, also translated by Landsman, Bonomini's novel of a mysterious fellowship at a Swiss university populated by doppelgängers of the protagonist is unlikely to disappoint. —JHM Black Meme by Legacy Russell [NF] Russell, best known for her hit manifesto Glitch Feminism, maps Black visual culture in her latest. Black Meme traces the history of Black imagery from 1900 to the present, from the photograph of Emmett Till published in JET magazine to the footage of Rodney King's beating at the hands of the LAPD, which Russell calls the first viral video. Per Margo Jefferson, "You will be galvanized by Legacy Russell’s analytic brilliance and visceral eloquence." —SMS The Eighth Moon by Jennifer Kabat [NF] Kabat's debut memoir unearths the history of the small Catskills town to which she relocated in 2005. The site of a 19th-century rural populist uprising, and now home to a colorful cast of characters, the Appalachian community becomes a lens through which Kabat explores political, economic, and ecological issues, mining the archives and the work of such writers as Adrienne Rich and Elizabeth Hardwick along the way. —SMS Stories from the Center of the World ed. Jordan Elgrably [F] Many in America hold onto broad, centuries-old misunderstandings of Arab and Muslim life and politics that continue to harm, through both policy and rhetoric, a perpetually embattled and endangered region. With luck, these 25 tales by writers of Middle Eastern and North African origin might open hearts and minds alike. —JHM An Encyclopedia of Gardening for Colored Children by Jamaica Kincaid and Kara Walker [NF] Two of the most brilliant minds on the planet—writer Jamaica Kincaid and visual artist Kara Walker—have teamed up! On a book! About plants! A dream come true. Details on this slim volume are scant—see for yourself—but I'm counting down the minutes till I can read it all the same. —SMS Physics of Sorrow by Georgi Gospodinov, tr. Angela Rodel [F] I'll be honest: I would pick up this book—by the International Booker Prize–winning author of Time Shelter—for the title alone. But also, the book is billed as a deeply personal meditation on both Communist Bulgaria and Greek myth, so—yep, still picking this one up. —JHM May 14 This Strange Eventful History by Claire Messud [F] I read an ARC of this enthralling fictionalization of Messud’s family history—people wandering the world during much of the 20th century, moving from Algeria to France to North America— and it is quite the story, with a postscript that will smack you on the side of the head and make you re-think everything you just read. I can't recommend this enough. —CK Woodworm by Layla Martinez, tr. Sophie Hughes and Annie McDermott [F] Martinez’s debut novel takes cabin fever to the max in this story of a grandmother,  granddaughter, and their haunted house, set against the backdrop of the Spanish Civil War. As the story unfolds, so do the house’s secrets, the two women must learn to collaborate with the malevolent spirits living among them. Mariana Enriquez says that this "tense, chilling novel tells a story of specters, class war, violence, and loneliness, as naturally as if the witches had dictated this lucid, terrible nightmare to Martínez themselves.” —LA Self Esteem and the End of the World by Luke Healy [NF] Ah, writers writing about writing. A tale as old as time, and often timeworn to boot. But graphic novelists graphically noveling about graphic novels? (Verbing weirds language.) It still feels fresh to me! Enter Healy's tale of "two decades of tragicomic self-discovery" following a protagonist "two years post publication of his latest book" and "grappling with his identity as the world crumbles." —JHM All Fours by Miranda July [F] In excruciating, hilarious detail, All Fours voices the ethically dubious thoughts and deeds of an unnamed 45-year-old artist who’s worried about aging and her capacity for desire. After setting off on a two-week round-trip drive from Los Angeles to New York City, the narrator impulsively checks into a motel 30 miles from her home and only pretends to be traveling. Her flagrant lies, unapologetic indolence, and semi-consummated seduction of a rent-a-car employee set the stage for a liberatory inquisition of heteronorms and queerness. July taps into the perimenopause zeitgeist that animates Jen Beagin’s Big Swiss and Melissa Broder’s Death Valley. —NodB Love Junkie by Robert Plunket [F] When a picture-perfect suburban housewife's life is turned upside down, a chance brush with New York City's gay scene launches her into gainful, albeit unconventional, employment. Set at the dawn of the AIDs epidemic, Mimi Smithers, described as a "modern-day Madame Bovary," goes from planning parties in Westchester to selling used underwear with a Manhattan porn star. As beloved as it is controversial, Plunket's 1992 cult novel will get a much-deserved second life thanks to this reissue by New Directions. (Maybe this will finally galvanize Madonna, who once optioned the film rights, to finally make that movie.) —DF Tomorrowing by Terry Bisson [F] The newest volume in Duke University’s Practices series collects for the first time the late Terry Bisson’s Locus column "This Month in History," which ran for two decades. In it, the iconic "They’re Made Out of Meat" author weaves an alt-history of a world almost parallel to ours, featuring AI presidents, moon mountain hikes, a 196-year-old Walt Disney’s resurrection, and a space pooch on Mars. This one promises to be a pure spectacle of speculative fiction. —DF Chop Fry Watch Learn by Michelle T. King [NF] A large portion of the American populace still confuses Chinese American food with Chinese food. What a delight, then, to discover this culinary history of the worldwide dissemination of that great cuisine—which moonlights as a biography of Chinese cookbook and TV cooking program pioneer Fu Pei-mei. —JHM On the Couch ed. Andrew Blauner [NF] André Aciman, Susie Boyt, Siri Hustvedt, Rivka Galchen, and Colm Tóibín are among the 25 literary luminaries to contribute essays on Freud and his complicated legacy to this lively volume, edited by writer, editor, and literary agent Blauner. Taking tacts both personal and psychoanalytical, these essays paint a fresh, full picture of Freud's life, work, and indelible cultural impact. —SMS Another Word for Love by Carvell Wallace [NF] Wallace is one of the best journalists (and tweeters) working today, so I'm really looking forward to his debut memoir, which chronicles growing up Black and queer in America, and navigating the world through adulthood. One of the best writers working today, Kiese Laymon, calls Another Word for Love as “One of the most soulfully crafted memoirs I’ve ever read. I couldn’t figure out how Carvell Wallace blurred time, region, care, and sexuality into something so different from anything I’ve read before." —SMS The Devil's Best Trick by Randall Sullivan [NF] A cultural history interspersed with memoir and reportage, Sullivan's latest explores our ever-changing understandings of evil and the devil, from Egyptian gods and the Book of Job to the Salem witch trials and Black Mass ceremonies. Mining the work of everyone from Zoraster, Plato, and John Milton to Edgar Allen Poe, Aleister Crowley, and Charles Baudelaire, this sweeping book chronicles evil and the devil in their many forms. --SMS The Book Against Death by Elias Canetti, tr. Peter Filkins [NF] In this newly-translated collection, Nobel laureate Canetti, who once called himself death's "mortal enemy," muses on all that death inevitably touches—from the smallest ant to the Greek gods—and condemns death as a byproduct of war and despots' willingness to use death as a pathway to power. By means of this book's very publication, Canetti somewhat succeeds in staving off death himself, ensuring that his words live on forever. —DF Rise of a Killah by Ghostface Killah [NF] "Why is the sky blue? Why is water wet? Why did Judas rat to the Romans while Jesus slept?" Ghostface Killah has always asked the big questions. Here's another one: Who needs to read a blurb on a literary site to convince them to read Ghost's memoir? —JHM May 21 Exhibit by R.O. Kwon [F] It's been six years since Kwon's debut, The Incendiaries, hit shelves, and based on that book's flinty prose alone, her latest would be worth a read. But it's also a tale of awakening—of its protagonist's latent queerness, and of the "unquiet spirit of an ancestor," that the author herself calls so "shot through with physical longing, queer lust, and kink" that she hopes her parents will never read it. Tantalizing enough for you? —JHM Cecilia by K-Ming Chang [F] Chang, the author of Bestiary, Gods of Want, and Organ Meats, returns with this provocative and oft-surreal novella. While the story is about two childhood friends who became estranged after a bizarre sexual encounter but re-connect a decade later, it’s also an exploration of how the human body and its excretions can be both pleasurable and disgusting. —CK The Great State of West Florida by Kent Wascom [F] The Great State of West Florida is Wascom's latest gothicomic novel set on Florida's apocalyptic coast. A gritty, ominous book filled with doomed Floridians, the passages fly by with sentences that delight in propulsive excess. In the vein of Thomas McGuane's early novels or Brian De Palma's heyday, this stylized, savory, and witty novel wields pulp with care until it blooms into a new strain of American gothic. —Zachary Issenberg Cartoons by Kit Schluter [F] Bursting with Kafkaesque absurdism and a hearty dab of abstraction, Schluter’s Cartoons is an animated vignette of life's minutae. From the ravings of an existential microwave to a pencil that is afraid of paper, Schluter’s episodic outré oozes with animism and uncanniness. A grand addition to City Light’s repertoire, it will serve as a zany reminder of the lengths to which great fiction can stretch. —DF May 28 Lost Writings by Mina Loy, ed. Karla Kelsey [F] In the early 20th century, avant-garde author, visual artist, and gallerist Mina Loy (1882–1966) led an astonishing creative life amid European and American modernist circles; she satirized Futurists, participated in Surrealist performance art, and created paintings and assemblages in addition to writing about her experiences in male-dominated fields of artistic practice. Diligent feminist scholars and art historians have long insisted on her cultural significance, yet the first Loy retrospective wasn’t until 2023. Now Karla Kelsey, a poet and essayist, unveils two never-before-published, autobiographical midcentury manuscripts by Loy, The Child and the Parent and Islands in the Air, written from the 1930s to the 1950s. It's never a bad time to be re-rediscovered. —NodB I'm a Fool to Want You by Camila Sosa Villada, tr. Kit Maude [F] Villada, whose debut novel Bad Girls, also translated by Maude, captured the travesti experience in Argentina, returns with a short story collection that runs the genre gamut from gritty realism and social satire to science fiction and fantasy. The throughline is Villada's boundless imagination, whether she's conjuring the chaos of the Mexican Inquisition or a trans sex worker befriending a down-and-out Billie Holiday. Angie Cruz calls this "one of my favorite short-story collections of all time." —SMS The Editor by Sara B. Franklin [NF] Franklin's tenderly written and meticulously researched biography of Judith Jones—the legendary Knopf editor who worked with such authors as John Updike, Sylvia Plath, Elizabeth Bowen, Anne Tyler, and, perhaps most consequentially, Julia Child—was largely inspired by Franklin's own friendship with Jones in the final years of her life, and draws on a rich trove of interviews and archives. The Editor retrieves Jones from the margins of publishing history and affirms her essential role in shaping the postwar cultural landscape, from fiction to cooking and beyond. —SMS The Book-Makers by Adam Smyth [NF] A history of the book told through 18 microbiographies of particularly noteworthy historical personages who made them? If that's not enough to convince you, consider this: the small press is represented here by Nancy Cunard, the punchy and enormously influential founder of Hours Press who romanced both Aldous Huxley and Ezra Pound, knew Hemingway and Joyce and Langston Hughes and William Carlos Williams, and has her own MI5 file. Also, the subject of the binding chapter is named "William Wildgoose." —JHM June June 4 The Future Was Color by Patrick Nathan [F] A gay Hungarian immigrant writing crappy monster movies in the McCarthy-era Hollywood studio system gets swept up by a famous actress and brought to her estate in Malibu to write what he really cares about—and realizes he can never escape his traumatic past. Sunset Boulevard is shaking. —JHM A Cage Went in Search of a Bird [F] This collection brings together a who's who of literary writers—10 of them, to be precise— to write Kafka fanfiction, from Joshua Cohen to Yiyun Li. Then it throws in weirdo screenwriting dynamo Charlie Kaufman, for good measure. A boon for Kafkaheads everywhere. —JHM We Refuse by Kellie Carter Jackson [NF] Jackson, a historian and professor at Wellesley College, explores the past and present of Black resistance to white supremacy, from work stoppages to armed revolt. Paying special attention to acts of resistance by Black women, Jackson attempts to correct the historical record while plotting a path forward. Jelani Cobb describes this "insurgent history" as "unsparing, erudite, and incisive." —SMS Holding It Together by Jessica Calarco [NF] Sociologist Calarco's latest considers how, in lieu of social safety nets, the U.S. has long relied on women's labor, particularly as caregivers, to hold society together. Calarco argues that while other affluent nations cover the costs of care work and direct significant resources toward welfare programs, American women continue to bear the brunt of the unpaid domestic labor that keeps the nation afloat. Anne Helen Petersen calls this "a punch in the gut and a call to action." —SMS Miss May Does Not Exist by Carrie Courogen [NF] A biography of Elaine May—what more is there to say? I cannot wait to read this chronicle of May's life, work, and genius by one of my favorite writers and tweeters. Claire Dederer calls this "the biography Elaine May deserves"—which is to say, as brilliant as she was. —SMS Fire Exit by Morgan Talty [F] Talty, whose gritty story collection Night of the Living Rez was garlanded with awards, weighs the concept of blood quantum—a measure that federally recognized tribes often use to determine Indigenous membership—in his debut novel. Although Talty is a citizen of the Penobscot Indian Nation, his narrator is on the outside looking in, a working-class white man named Charles who grew up on Maine’s Penobscot Reservation with a Native stepfather and friends. Now Charles, across the river from the reservation and separated from his biological daughter, who lives there, ponders his exclusion in a novel that stokes controversy around the terms of belonging. —NodB June 11 The Material by Camille Bordas [F] My high school English teacher, a somewhat dowdy but slyly comical religious brother, had a saying about teaching high school students: "They don't remember the material, but they remember the shtick." Leave it to a well-named novel about stand-up comedy (by the French author of How to Behave in a Crowd) to make you remember both. --SMS Ask Me Again by Clare Sestanovich [F] Sestanovich follows up her debut story collection, Objects of Desire, with a novel exploring a complicated friendship over the years. While Eva and Jamie are seemingly opposites—she's a reserved South Brooklynite, while he's a brash Upper Manhattanite—they bond over their innate curiosity. Their paths ultimately diverge when Eva settles into a conventional career as Jamie channels his rebelliousness into politics. Ask Me Again speaks to anyone who has ever wondered whether going against the grain is in itself a matter of privilege. Jenny Offill calls this "a beautifully observed and deeply philosophical novel, which surprises and delights at every turn." —LA Disordered Attention by Claire Bishop [NF] Across four essays, art historian and critic Bishop diagnoses how digital technology and the attention economy have changed the way we look at art and performance today, identifying trends across the last three decades. A perfect read for fans of Anna Kornbluh's Immediacy, or the Style of Too Late Capitalism (also from Verso). War by Louis-Ferdinand Céline, tr. Charlotte Mandell [F] For years, literary scholars mourned the lost manuscripts of Céline, the acclaimed and reviled French author whose work was stolen from his Paris apartment after he fled to Germany in 1944, fearing punishment for his collaboration with the Nazis. But, with the recent discovery of those fabled manuscripts, War is now seeing the light of day thanks to New Directions (for anglophone readers, at least—the French have enjoyed this one since 2022 courtesy of Gallimard). Adam Gopnik writes of War, "A more intense realization of the horrors of the Great War has never been written." —DF The Uptown Local by Cory Leadbeater [NF] In his debut memoir, Leadbeater revisits the decade he spent working as Joan Didion's personal assistant. While he enjoyed the benefits of working with Didion—her friendship and mentorship, the more glamorous appointments on her social calendar—he was also struggling with depression, addiction, and profound loss. Leadbeater chronicles it all in what Chloé Cooper Jones calls "a beautiful catalog of twin yearnings: to be seen and to disappear; to belong everywhere and nowhere; to go forth and to return home, and—above all else—to love and to be loved." —SMS Out of the Sierra by Victoria Blanco [NF] Blanco weaves storytelling with old-fashioned investigative journalism to spotlight the endurance of Mexico's Rarámuri people, one of the largest Indigenous tribes in North America, in the face of environmental disasters, poverty, and the attempts to erase their language and culture. This is an important book for our times, dealing with pressing issues such as colonialism, migration, climate change, and the broken justice system. —CK Any Person Is the Only Self by Elisa Gabbert [NF] Gabbert is one of my favorite living writers, whether she's deconstructing a poem or tweeting about Seinfeld. Her essays are what I love most, and her newest collection—following 2020's The Unreality of Memory—sees Gabbert in rare form: witty and insightful, clear-eyed and candid. I adored these essays, and I hope (the inevitable success of) this book might augur something an essay-collection renaissance. (Seriously! Publishers! Where are the essay collections!) —SMS Tehrangeles by Porochista Khakpour [F] Khakpour's wit has always been keen, and it's hard to imagine a writer better positioned to take the concept of Shahs of Sunset and make it literary. "Like Little Women on an ayahuasca trip," says Kevin Kwan, "Tehrangeles is delightfully twisted and heartfelt."  —JHM Traveling: On the Path of Joni Mitchell by Ann Powers [NF] The moment I saw this book's title—which comes from the opening (and, as it happens, my favorite) track on Mitchell's 1971 masterpiece Blue—I knew it would be one of my favorite reads of the year. Powers, one of the very best music critics we've got, masterfully guides readers through Mitchell's life and work at a fascinating slant, her approach both sweeping and intimate as she occupies the dual roles of biographer and fan. —SMS All Desire Is a Desire for Being by René Girard, ed. Cynthia L. Haven [NF] I'll be honest—the title alone stirs something primal in me. In honor of Girard's centennial, Penguin Classics is releasing a smartly curated collection of his most poignant—and timely—essays, touching on everything from violence to religion to the nature of desire. Comprising essays selected by the scholar and literary critic Cynthia L. Haven, who is also the author of the first-ever biographical study of Girard, Evolution of Desire, this book is "essential reading for Girard devotees and a perfect entrée for newcomers," per Maria Stepanova. —DF June 18 Craft by Ananda Lima [F] Can you imagine a situation in which interconnected stories about a writer who sleeps with the devil at a Halloween party and can't shake him over the following decades wouldn't compel? Also, in one of the stories, New York City’s Penn Station is an analogue for hell, which is both funny and accurate. —JHM Parade by Rachel Cusk [F] Rachel Cusk has a new novel, her first in three years—the anticipation is self-explanatory. —SMS Little Rot by Akwaeke Emezi [F] Multimedia polymath and gender-norm disrupter Emezi, who just dropped an Afropop EP under the name Akwaeke, examines taboo and trauma in their creative work. This literary thriller opens with an upscale sex party and escalating violence, and although pre-pub descriptions leave much to the imagination (promising “the elite underbelly of a Nigerian city” and “a tangled web of sex and lies and corruption”), Emezi can be counted upon for an ambience of dread and a feverish momentum. —NodB When the Clock Broke by John Ganz [NF] I was having a conversation with multiple brilliant, thoughtful friends the other day, and none of them remembered the year during which the Battle of Waterloo took place. Which is to say that, as a rule, we should all learn our history better. So it behooves us now to listen to John Ganz when he tells us that all the wackadoodle fascist right-wing nonsense we can't seem to shake from our political system has been kicking around since at least the early 1990s. —JHM Night Flyer by Tiya Miles [NF] Miles is one of our greatest living historians and a beautiful writer to boot, as evidenced by her National Book Award–winning book All That She Carried. Her latest is a reckoning with the life and legend of Harriet Tubman, which Miles herself describes as an "impressionistic biography." As in all her work, Miles fleshes out the complexity, humanity, and social and emotional world of her subject. Tubman biographer Catherine Clinton says Miles "continues to captivate readers with her luminous prose, her riveting attention to detail, and her continuing genius to bring the past to life." —SMS God Bless You, Otis Spunkmeyer by Joseph Earl Thomas [F] Thomas's debut novel comes just two years after a powerful memoir of growing up Black, gay, nerdy, and in poverty in 1990s Philadelphia. Here, he returns to themes and settings that in that book, Sink, proved devastating, and throws post-service military trauma into the mix. —JHM June 25 The Garden Against Time by Olivia Laing [NF] I've been a fan of Laing's since The Lonely City, a formative read for a much-younger me (and I'd suspect for many Millions readers), so I'm looking forward to her latest, an inquiry into paradise refracted through the experience of restoring an 18th-century garden at her home the English countryside. As always, her life becomes a springboard for exploring big, thorny ideas (no pun intended)—in this case, the possibilities of gardens and what it means to make paradise on earth. —SMS Cue the Sun! by Emily Nussbaum [NF] Emily Nussbaum is pretty much the reason I started writing. Her 2019 collection of television criticism, I Like to Watch, was something of a Bible for college-aged me (and, in fact, was the first book I ever reviewed), and I've been anxiously awaiting her next book ever since. It's finally arrived, in the form of an utterly devourable cultural history of reality TV. Samantha Irby says, "Only Emily Nussbaum could get me to read, and love, a book about reality TV rather than just watching it," and David Grann remarks, "It’s rare for a book to feel alive, but this one does." —SMS Woman of Interest by Tracy O'Neill [NF] O’Neill's first work of nonfiction—an intimate memoir written with the narrative propulsion of a detective novel—finds her on the hunt for her biological mother, who she worries might be dying somewhere in South Korea. As she uncovers the truth about her enigmatic mother with the help of a private investigator, her journey increasingly becomes one of self-discovery. Chloé Cooper Jones writes that Woman of Interest “solidifies her status as one of our greatest living prose stylists.” —LA Dancing on My Own by Simon Wu [NF] New Yorkers reading this list may have witnessed Wu's artful curation at the Brooklyn Museum, or the Whitney, or the Museum of Modern Art. It makes one wonder how much he curated the order of these excellent, wide-ranging essays, which meld art criticism, personal narrative, and travel writing—and count Cathy Park Hong and Claudia Rankine as fans. —JHM [millions_email]

Confluence of Pleasures: On Reading and Tuna Fish

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1. Dry Spell I'm going through a period where I'm not reading very many novels. I really hate this. To me, every period of reading stagnation is the beginning of the slippery slope, which will lead you to one day parrot the refrain your bookish, childhood self heard from all the adults in view: "I miss reading," and "I used to read a lot, too." Telling a young bookworm that reading is something people might stop doing is like telling people who just fell in love that a day will come when they won't want to have sex all the time. No one is trying to hear this. Many of the books I have read are indexed by place and time. Usually there is nothing particularly meaningful about the occasion, and the memory is populated by mundane details—this book goes with a bus in that city; that one under the hostess stand at that restaurant; the other belongs in a purse I used to have, and wish I had still. But there is a flash point where the book you are reading is exactly the book you should and want to be reading at that moment, and the combination renders the occasion of your reading so intensely pleasurable that you remember it for years as a halcyon day in your life. In a dry spell, I find myself fantasizing about these greatest hits of my reading past, fetishizing afternoons on couches lost to time. These are not the kind of memories with a facile cinematic chronology—it's impossible to create a montage of a girl supine for eight hours with Of Human Bondage.  And while you can think long about a particular book—its plot or its meaning—there is no narrative to an epic reading of a book as there is with other life moments (He said x, and then he kissed me; the phone rang, they rescued Timmy from the well.) Reading memories are intensely boring to describe to someone else in any detail. Reading memories are cat memories—a sunbeam, a warm spot, a heaven-sent breeze, distant voices. Often, there are snacks. 2. Food I was moved by Leah Carroll's poignant essay about the foods in which she takes comfort. I am a creature of habit, and I form periods of intense attachment to foods, just as I do with books. For me, many comfort foods are profoundly connected to my reading memories; books, like food, provide rich and varied nourishment, often greater than the sum of their ingredients. Taken in conjunction, books and food are a potent, comprehensive, and very private source of happiness. Proust's madeleine would feel more real to me had Proust, upon discovering the power of the cookie, obtained a huge box and eaten them while reading all seven Chronicles of Narnia. On a summer Saturday, probably 2004, I mixed tuna fish in my mother's style—with plain yogurt, a touch of mayonnaise, green onion, black pepper, and lemon—and spread it on melba toast crackers. I poured a coca-cola over ice.  I took the plate to the couch, lay down, and read Lolita all the way through.  And verily it was one of the most pleasant days of my life. I remember a tuna fish sandwich and The Blind Assassin, sprawled on the same couch, on the same kind of summer afternoon. Tuna fish is writ large in my reading life, but only prepared in this precise way (with yogurt; the bread can be different, and sometimes I put mustard). When I need to manufacture happiness, I make tuna fish. The fall I read 2666 coincided with my rediscovery of a very plain spaghetti I remembered eating every day one summer in my childhood—a spaghetti with butter, salt, and a mild cheese. Unsurprisingly, given its flavor profile and ingredients, I was crazy for this dish with a kind of fevered passion, which is just how I felt about 2666. The day I cranked through most of volume 2 was a day I did two things that are almost impossible: I read with a blinding hangover and I read while eating spaghetti. I think I made the spaghetti twice that day, so abandoned was I to hangover and booklust. Like 2666, part of the appeal of the spaghetti was how delicious it was, and its impossibility as a permanent and frequent fixture in my snack rotation. I was wild for the book, and the spaghetti, but you cannot read 2666 every day, and butter spaghetti must be used infrequently, lest it lose its great effect, and you develop a pallor. It was not my first spaghetti madness. One lonely high school summer spent in a new country, I plundered my parents' pantry of commissary-bought cans and dry goods. I invented a version of canned clam sauce, heavy on white wine, and ate it every afternoon while reading the assembled works of A.S. Byatt. Possession tastes like canned clams and coca cola with a splash of wine; it sounds like the beetle that tapped faintly from behind the living room wall. In 2005 I read The Sea, The Sea, and my encounter with Charles Arrowby's homely yet intensely provocative food interests coincided with (or influenced, possibly) a period during which I ate cabbage and carrot salad every single day for several months.  (Fear not, gentle readers, I ate other things too.) An Arrowby meal, for the uninitiated: . . . spaghetti with a little butter and dried basil . . . Then spring cabbage cooked slowly with dill.  Boiled onions served with bran, herbs, soya oil, and tomatoes, with one egg beaten in.  With these a slice or two of cold tinned corned beef. In my beloved salad, the red or green cabbage is thinly sliced, the carrots grated.  I add tiny slivers of garlic, olive oil, lemon juice, and a lot of salt.  At the end, I drag my bread across the bowl and it is stained orange with the remaining oil and the life blood of carrots.  I know this as a Greek winter salad, but my beloved roommate of the period made cabbage and carrot in her home Tatarstan.  Cabbage and carrot is home food across great distances. [millions_email] I remember eating a bowl of this and a loaf of the airy bread procured from my corner shop, lying on the bed with Iris Murdoch's best novel, and smoking cigarettes.  This memory is especially riddled with nostalgia—now there are no more cigarettes, there is no more bread eaten in number 5  Happy Street (actual address) in a distant Istanbul suburb.  I still make cabbage and carrot salads, but they are simulacra. Some foods are not my own creation. Another summer I spent every one of my lunch breaks eating xoriatiki salata from the same cafe while reading the majority of Stephen King's novels. Greek salad and The Stand are intimations of heaven on earth. During some weeks I was left to my own devices I contrived to eat the platonic ideal of chicken and rice at Philippou, the most wonderful restaurant in all of Greece, every day that I had the money to acquire it. That's where I read Under the Volcano.  I went back years later and took my beloved, but I cannot recapture the feeling of those hot days in a cool room, the whir of fans and the silverware clinking on the plates of the regulars, the ruination of Geoffrey Firmin. Probably my nostalgia is less for the these books and these tuna fish crackers, but for lost places, lost summers, lost time (Oh hallo, Marcel—do pass the madeleines). Every passing year makes an afternoon spent on the couch less an inalienable right and more of a louche extravagance. Every year I see more clearly the first-world silliness of a spoilt youth eating dozens of baked chicken portions in a classy Athenian restaurant. I wouldn't talk sense into her now, though. These memories are too precious. All is not lost and melancholic. The dry spell will end, god willing. There are still books to read in snatched half-hours; there is passionate reading in our future. There is still tuna fish and cabbage salad. Image credit: Flickr/galant

Modern Library Revue: #42 Deliverance

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I have seriously mixed feelings about this book.  First off, it is part of the group of post-war novels by/about American men who are peeved because getting old is boring and their wives aren't very sexy.  Please forgive my bawdy language, but let's call them the My Dick novels, with major sub-genres My Dick is Great and  I Feel Bad About my Dick.   I used to read these without discrimination, but one day the veil fell from my eyes and I realized that these books could bring about a serious crisis of self-esteem for me, a lady who loves a man.  One doesn't need constant reminders that one's significant other will stare in horror at one's posterior fifteen years from now, and try to do it with the underaged person responsible for looking after the children for whom, theoretically, one will have compromised one's parts in order to expel.  Nor does one need to be told that, even if you should have the marvelous good fortune to keep your libido and your teeth and your satin skin and sense of humor, it won't make a whit of difference, as the man in your life will be pulled inexorably toward sex with teens.  I don't care if these accounts are based on life's hard facts, and are therefore imbued with a verisimilitude that some say makes art great.  Some things are just tedious after the hundredth time. I'm told that women get increasingly humorless as well as physically repulsive as the years go by, but I like these novels if they are really funny.  The Water-Method Man, for example, is one my favorite novels, although John Irving is an important figure in the My Dick movement. Deliverance by James Dickey, though, is the opposite of funny.  The leather vest that Burt Reynolds is wearing on the cover of my copy is funny, but that is the only thing.  Most people are familiar with the storyline, immortalized as it was by Reynolds and said vest.  For those of you who haven't heard the twang of dueling banjos, here's what happens: the narrator has three friends, one of whom is very muscular (he's the narrator's favorite).  The narrator also wants to fondle the girl who is a model at his ad agency and has a golden eye or something.  The narrator and his three friends decide to go canoeing on a river without a map or a clue; they pack some beers and bows and arrows (naturally) and hit the road.  It's all very sinister from the get-go. Then they're on the river, and terrifying rednecks (who have done more toward furthering redneck discrimination than any other rednecks in art), rape one of them.  The rednecks are about to assault the narrator, but the muscled one, Lewis, shoots one of them through the chest with an arrow.  The other redneck gets away and hides, kills one of the friends, Lewis breaks his leg, and then it's up to the narrator to stop being such a soft-living, house-having nancy all the time and find that bastard and kill him with his primal man essence.  Which he does, after some feats of strength and things that sound like they hurt a lot. All of this is told in a self-consciously poetic way, as if the author wrote it while sitting behind a duck blind with a camouflaged typewriter, looking at a picture of Walt Whitman and listening to Wagner.  Sometimes I was (very marginally) enjoying it and sometimes I was thinking that if I must read about scary, disgusting things I'd rather get my copy of The Stand out from under the bed and at least have a good time.  Then I wouldn't have to read sentences like this one: "The standing there was so good, so fresh and various and continuous, so vital and uncaring around my genitals, that I hated to leave it."  Good grief. Why is this book one of the best books of the century?  Why, Modern Library? Really, the more I think about it the more I think it's less "mixed feelings" I have about it than "fierce loathing." My main complaint is this:  Bobby has been raped, Lewis the muscled one has killed the redneck, and they're all four standing around talking about what to do, and the narrator goes ahead and says: I moved away from Bobby's red face.  None of this was his fault, but he felt tainted to me.  I remembered how he had looked over the log, how willing to let anything be done to him, and how high his voice was when he screamed. What a super attitude to have about your friend who was sexually assaulted at gunpoint!  Ecce homo! Basically the narrator is feeling pretty smug about not being the one to get "cornholed" (his charming term), and about the fact that dreamy Lewis was put out of commission and it was up to him to save the day!  I'm not one of those literal-minded turds who thinks Lolita or, I don't know, The Collector, are offensive, because I understand that you can write about things and not do them or think them yourself.  It is not the novelist's job to provide an edifying story or a lovable narrator. However, not only was I pretty lukewarm about the alleged Everyman of Deliverance, the writing style did not, for me, elevate things in any meaningful way. It felt like a missed opportunity, in a sense.  A novelist could use a moment like this to provide a neat example of how rape culture and victim-shaming hurt everyone, men and women alike.  I mean, the narrator's basic position on the issues is that sexual assault victims are embarrassing and gross, and the best thing to do is to a) shun them and b) kill everyone.  There's a lot of pithy stuff there. I'm likely missing something.  I think there is something zeitgeisty happening in the novel, something to which I'm not privy.  Maybe it's a generational thing.  Maybe it's a Vietnam thing.  Obviously, it's a dick(ey) thing. On that note, Happy Thanksgiving.

Summer of My Discontent

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I know it's inauspicious to say this at the advent of our new site design, but I'm on a losing streak.  Sometimes I'm on a winning streak, and everything I read is delightful and I stay up late to finish one novel after another, and at the end of the month I feel sublime and like I am infinitesimally closer to my goal of reading everything.  But sometimes I read a novel that drags, and then another that drags, and then another, and before long I have spurned books in favor of internet television, Calvin and Hobbes, and puerile blogs.  It's not that the novels are bad, necessarily; a bad novel is easy to shake.  It's that they aren't enjoyable.  They don't make me feel happy, or pleasantly sad, or smarter.  Perhaps I ask too much.  And perhaps it's unfair to blame the novels for what is in fact the ebb and flow of human enthusiasm and serotonin levels, but outside of the reading problem I feel quite chipper (or rather, no more curmudgeonly than usual). I think it's the books.  Here are the culprits, feel free to judge: A Bend in the River: Technically this should get its own Modern Library Revue, but I'm not sure that I have enough to say.  After A House for Mr. Biswas, a picaresque delight which I read in my previous web-carnation as Widmerpool, I was unprepared for the more subtle charms of A Bend in the River.  It made me feel like I had taken a painkiller, laid down for a malarial nap in an unpleasant climate, and watched a revolution on TV.  Maybe I am just an unsubtle person, better suited to the theatrics of Mr. Biswas, because this novel seemed a touch slow to me.  It did impart a dull sense of dread, but dull only; the implications of what Naipaul was saying, the realities of the situation he described, did not feel real to me.  Maybe that was Naipaul's intention.  More probably, I have a very limited frame of reference.  I did really like the last page.  So much, in fact, that it made me reconsider my feelings about all of the preceding pages.  Maybe I'll read it again, when I'm feeling more charitable. London Fields: As I have said before on this site, I really like the books by Martin Amis that I have read.  Nonetheless, I felt like he could have done with the aforementioned painkiller and nap, instead of whatever it was that he did when he was writing this novel.  (Uppers, maybe.)  To be fair (unfair?), I haven't finished the book, but part of the reason that I haven't finished it is that it's kind of a chore.  It's like going on an elaborate and fast-paced scavenger hunt arranged by someone whom you suspect dislikes you.  You don't know what's at the end, but you can't be sure that it will be something nice, and it's an awful lot of effort in the meantime.  When I wrote about The Rachel Papers, I mentioned Grass and Nabokov.  I feel them rattling around this novel too, except here they seem to have had a lovechild with Don Delillo's Americana (another book I didn't care for).  It's exhausting, and I just want it to be over. The Golden Notebook: When I saw this in the book shop, I flung myself upon it, feeling like I had identified a massive, hitherto nameless gap in my education, a gap shaped like Doris Lessing.  I thought I was going to be enthralled and entertained.  Instead, I was depressed for rather a lot of days.  The experience is not one I would describe as entertaining in the way that lying down in a basket of kittens or reading The Stand is entertaining.  I found it powerful, but unpleasant. I really admired what Lessing did in this novel.  Among other things, she did an uncanny job of creating a malaise that was actually infectious.  It oozed right off the page and into my own spirit.  I started dragging around, inventing emotional maladies, worrying about my life, and contemplating my uterus.  When I finished the novel the malaise lifted, and I felt I had been through a mild illness.  That's impressive, but it wasn't fun.  What is fun is to think that Doris Lessing, by writing this novel that I found tedious and sad-making, about a lady who I found tedious and sad-making, is actually one of many reasons that I am able to feel happy, as a lady!  How about that? Additionally, The Golden Notebook did serve as a nice, I guess, illustration of something I have been mulling over lately.  Last month I noticed that there were a lot of articles about marriage on various news and "culture" websites.  First there were articles and books and annoying blog posts saying that marriage is boring and against nature, which lead to even more annoying personal pieces about allegedly successful marriages and how superb they are for everyone (either that, or Our Problems and How We Solved Them).  When I read things like this, I think, probably unkindly, "Hmm, love to hear from your spouse about all this" and "Shut up."  But my point, other than that people should stop talking about their significant others on the internet, is that advocates of "romance" and drama (cf Christina Nehring, A Vindication of Love) should read The Golden Notebook, and get back to me on the advantages of hot passion.  As a matter of fact, advocates of marriage (their own marriages, mostly, and specifically I mean that smug fellow on Salon), could give it a read too.  Nowhere have hot passion and marriage alike (human relationships in general, actually, and the Communist Party) seemed so utterly defeating and sad as they do in The Golden Notebook. The Skating Rink:  Sigh.  I was so looking forward to this.  I even pre-ordered, and I never pre-order.  But it was lacklustre.  It lacked lustre, and heart, like a last-minute writing exercise from a promising MFA student.  Compared to the shocking experience of The Savage Detectives and 2666, this was very flat.  If I had read it in a magazine I would have liked it more, I think.  Being bound in boards makes everything so weighty.  So does pre-ordering. Those are my companions in the rut, friends.  I had a couple things lined up for the rest of the month, but given the length of this losing streak, I'm not sure they are suitable.  First, The Black Book.  I like Pamuk, but I'm not sure he is the one to end a losing streak.  The man is married to melancholy.  Then a William Vollmann novel (my first), Europe Central.  But it looks heavy (like, heavy).  I'm going to the beach next week.  Will my location be incompatible with my reading material?  I'm sort of considering acquiring (preferably through theft) a copy of Twilight.  I read the first few chapters at a party, and it raised some thrilling questions.  What of the crude nationalistic symbolism of Bella's pick-up truck?  Why is Edward, like, so mad at Bella when he doesn't even know her?  Will my own accursed pallor be trendy this season, thanks to these sexy underaged people from Forks, Washington?  How much will I hate myself if I spend money on this book? I'll do anything to get out of this goddamned rut.

Brooklyn Book Festival Dispatch

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An old friend sent in this report from the inaugural Brooklyn Book FestivalLeaving to the New York Times, for the moment, the question of whether Brooklyn circa 2006 can fairly be compared to Paris circa 1930, it would have been apparent to anyone attending Saturday's 1st Annual Brooklyn Book Festival that the borough has become at the very least a vital center in the republic of letters - a worthy rival to its sister across the river.After a week of rain, the weather was perfect. For our delectation, Borough President Marty Markowitz - almost single-handedly, if the font size on the flyer was any indication - had filled Borough Hall plaza in downtown Brooklyn with five reading stages and over sixty vendor tents from bookstores, literary nonprofits, and small presses. We're all accustomed, of course, to our beloved BP's inimitable brand of self-promotion... and this was not the only echt-Brooklyn aspect of the festival. Both the crowd and the participants were almost as laudably diverse as the borough, and that wonderful Brooklyn admixture of charm, originality, and public-mindedness tempered by self-satisfaction were palpable all around.The indoor readings and panels, featuring the likes of Jhumpa Lahiri and Jonathan Lethem, were so packed that I couldn't get in - —which is good, I think. The Book Festival, if it is to take off as a viable successor to New York is Book Country, needs to generate this kind of excitement. For me, though (slathering, slobbering, fetishizing book-hound that I am), the vendor's booths were where the action was. Literary magazines were well-represented. Out-of-towners like Jubilat and Gulf Coast mingled with New York's own one-story and Open City. A Public Space proved particularly popular - the scintillating first issue of this Paris Review offshoot is now sold-out, and issue two was flying off the tables. I like that A Public Space is trying to bridge the divide between the traditional literary magazine - which these days appeals to a small, self-selecting audience - and that endangered species, the general interest magazine.Small presses, meanwhile, were showcasing their fall catalogues. Seven Stories, Soft Skull, and Akashic are bringing out a number of titles with mainstream appeal, and it's hard to compete with Joe Wenderoth's Letters To Wendy's (Verse Press). But for my money the most interesting house in Brooklyn is Archipelago. These guys, like Dalkey and NYRB are putting out translations of serious works of fiction from around the world, in beautiful editions. Elias Khoury's magisterial Gates of the Sun, a surprise success, has introduced readers across the country to Palestinian literature; this fall's offerings include works in Russian and Korean.And what would a Brooklyn Book Festival be without the McSweeney's table? Many of the authors represented in the festival - Jonathan Ames, Jonathan Lethem, Rick Moody, Colson Whitehead, Jennifer Egan - are less than a degree of separation away from Dave Eggers' merry band, aesthetically and/or professionally. Members of said band had flown in from San Francisco for the event, and were chatting with visitors about upcoming projects. Writers and readers have sometimes seemed divided on the question of a McSweeney's style - that kind of playful, knowing, "in-joke" humor and deep interest in childhood and adolescence. And we on the web love a backlash, don't we. But it is indisputable that McSweeney's has contributed greatly to the literary renaissance underway here. The 826 NYC learning center is a noble effort to extend the bounty of the literary boom to kids often ill-served by rapid gentrification. And the publishing operation is growing. Eggers' novel about Sudanese war refugees - due out in October, I think - sounds like a work of great reach and ambition. But if you're into that sort of thing, there's no need to wait - McSweeney's has also just put out Chris Adrian's monumental (600+ pages) novel, The Children's Hospital. This book strikes me as a bid to compete seriously with the big literary houses, albeit under a different financial model. At the book fair, the editors seemed to be waiting to see whether a book with a modest promotional budget and independent distribution can succeed in the way White Teeth and Motherless Brooklyn and Middlesex have. But if it is a just world, they don't need to worry. I started reading the book last week, and am pleased to report that it's everything I look for in a novel - richly imagined, wonderfully written, ample in scope, formally daring. In a word, serious. On the log-line alone - The Stand meets Cuckoo's Nest meets the Book of Revelations - it should take off.Or anyway, I'm hoping. Because if there's a flaw in the Brooklyn literary model, as opposed to the Parisian one, it may be that we're too damn comfortable here. Walking around on a gorgeous fall day, eating a burrito, reading about Wendy's, seeing kids listen to Dr. Seuss, it was hard to want anything more. And this, too, is so very Brooklyn (nouveau Brooklyn, that is), this feeling of, we've got it so good here, this is so great. Look at us, us smart and engaged and right-minded people! Look at how many wonderful writers live and work among us! It can be hard to stay hungry. But hunger, yearning, desire, insane and ravenous need, are the fuel for great and life-changing books. And with luck, the thing that's happening here, in Brooklyn, will produce (or continue to produce) those books. God knows we need them.

The Results Are In

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Last night the winners of this year's National Book Awards were announced:Fiction: The Great Fire by Shirley Hazzard (I've got this book lying around somewhere, and I've been somewhat interested in reading it... and I'm still somewhat interested in reading it.)Non-Fiction: Waiting for Snow in Havana: Confessions of a Cuban Boy by Carlos Eire (I was hoping that Gulag by Anne Applebaum would win. Of course, in these situations, I always want the book that I've read to win. It's more fun that way.)Poetry: The Singing by C.K. Williams (This is exciting. C.K. Williams has been one of my favorite poets for a very long time. Here's an anti-war poem of his called "The Hearth.")Young People's Literature: The Canning Season by Polly Horvath (I'm no expert on kid's books, but I'm actually pretty familiar with Horvath. A few years back I worked at an agency that repped the film and TV rights for a huge catalog of books. Polly Horvath's books were among them, and they were favorites around the office.)Additional info: Past National Book Award WinnersDexter SpeaksI found this great mini-profile of author Pete Dexter yesterday. It helps illuminate the qualities of his character that I was unable to quite describe in a post a while back about seeing him read. He is a very old-fashioned hard-nosed guy, a newspaper man. He's got a great sense of humor too. They sort of gloss over it in the article, but I think it's pretty remarkable that he's driving himself around the country for this book tour. He clearly enjoys doing that sort of thing. I do, however, happen to disagree with the remarks he makes about Stephen King and the American reading public. King himself admits that he has written several clunkers along the way, but he has also written some astoundingly good books that, given a little perspective years from now, will be thought of as some of the best books of our era. I know it's a bold statement, but think about how good The Stand, It, and The Shining are (just to pick a few of the many good books he's written). Just because he sells as many or more books than Tom Clancy or John Grisham doesn't mean he writes at their level. I also disagree with this: "The winner of a National Book Award argued that the reason John Grisham and James Patterson novels are so popular 'has something to do with our lack of attention span.'" Dexter mentioned this at the reading I attended with unironic and grave concern. It's true that millions of people read books by those authors, but I don't think that it's due to a lack of attention span. My theory is that people read the same types of formulaic books over and over again because it is comfortable. The vast majority of the people out there lead busy, stressful lives and they read for fun and for an escape. They don't have time to browse endlessly at bookstores seeking out a hidden gem. They don't want to risk buying a book that is unknown to them and that might not serve their needs, when there is a shelf full of books that they know with certainty will give them what they need. A lot of these same people would gladly be more adventurous readers if their lives permitted it, they just don't have the time or the money to support it. This is why all those polemical right-wing and left-wing books do so well even though they bring no new discussions to the table. This is why Jerry Bruckheimer movies do so well. It is an unfortunate fact that our modern lives do not typically leave room for the adventurous consumption of creativity, and to say that people consume all this stuff that is "bad" because they are deficient in some way misses the point entirely. (I know I made essentially the same point in a post last week, but I've had this idea on my mind a lot lately).