The Twelve Tribes of Hattie (Vintage)

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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]

Is Baseball What’s Wrong with America?

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On a recent Wednesday afternoon, I managed to vanish unnoticed from my day job in an office in midtown Manhattan and materialize in the lovely little ballpark on Staten Island, where a minor-league affiliate of the New York Yankees was taking on the Lowell Spinners, a Boston Red Sox farm team. Beyond the outfield wall, the Statue of Liberty rose green and glorious out of the harbor and, in the distance, the glass forest of downtown Manhattan shimmered in the afternoon sunshine. The outfield grass sparkled, the foul lines glowed. This was heaven—or at least a major upgrade from my 9-to-5. The crowd that afternoon was thin. It was, after all, a workday. The box score would claim the attendance was 1,664, which struck me as optimistic, and as I scanned my fellow diehards, I noticed something peculiar: Nearly every fan, myself included, was white. Among the wannabe Yankees and Red Sox down on the field, about half were white and half were Latino. There was only one black player on the field that day. Maybe I wouldn’t have noticed this imbalance if I hadn’t recently read a column in the New York Times under the headline “With a Loud Ovation, Baseball Shows Its Whiteness.” The column told an unsettling story. During this summer’s All-Star Game in Washington, D.C., it had come to light that one of the participants, a 24-year-old white pitcher with the Milwaukee Brewers named Josh Hader, has a Twitter account laced with ugly statements written when he was 17 and 18, including “White Power, lol” with a clenched-fist emoji, “KKK,” “I hate gay people,” and repeated use of the N-word. Confronted with the tweets immediately after the game, Hader sort of apologized: “I was 17 years old, and as a child I was immature, and obviously I said some things that were inexcusable.” The Times columnist, Michael Powell, rightly pointed out that no 17-year-old qualifies as a child. Then Powell delivered his kicker: When Hader strode to the pitcher’s mound in Milwaukee in his first appearance after the All-Star Game, thousands of white fans rose to give him a standing ovation. Powell went on to point out some facts that seemed to jibe with what I was seeing in the Staten Island ballpark. Baseball has fewer and fewer black players, few people of color in its executive offices, and it has the oldest and whitest fan base of America’s three major sports. Black and Latino players are routinely excoriated for wearing a cap backward during practice or flipping a bat in celebration after hitting a home run, while a white player receives a standing ovation after making racist and homophobic remarks. “For far too long,” Powell concluded, “too many baseball controversies have centered around older, white baseball men complaining about so-called insults to the game.” And, by extension, too few baseball controversies have centered around insults like Josh Hader’s—and fans’ reaction to them. The problem, of course, is that so many of those fans are white and, more to the point, so willing to excuse an offense like Hader’s. Powell quotes Curtis Granderson, a gifted black outfielder now with the Toronto Blue Jays, who sees on a daily basis what I saw that Wednesday afternoon in the Staten Island ballpark: “We play this game, me and other black players, counting the black people in the stands who weren’t working at the game. ‘I see one! No, he’s Latino.’ You’re panning, panning, and sometimes it would take us seven innings to count ten.” With the jury stacked like that, what kind of verdict do you expect for infractions, large or small? [millions_ad] At the time I was learning about Josh Hader, I came upon a book called Light the Dark: Writers on Creativity, Inspiration, and the Artistic Process, which provided unexpected context for my uneasy thoughts about baseball’s whiteness. One of the book’s contributors is Ayana Mathis, author of the acclaimed novel The Twelve Tribes of Hattie. In an essay called “Against Unreality,” Mathis revisits her first encounter with the writing of James Baldwin—the long essay “Down at the Cross: Letter from a Region in My Mind” from Baldwin’s incendiary 1963 masterpiece, The Fire Next Time. Baldwin asserts that the only fact humans have is the fact of death, and that humans should rejoice in the fact of death, should earn their death “by confronting with passion the conundrum of life.” Then, stunningly, he adds: “One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return... But white Americans do not believe in death.” Mathis points out that Baldwin is using white America’s denial of death as a metaphor for a larger and more complex denial: “the denial of reality, racial and otherwise.” And this denial leads to deaths of an even worse sort than physical death because these deaths continue to afflict the living: “political death, spiritual death, psychic death.” This larger denial, Mathis posits, leaves white America prone to nostalgia, which I define as the misguided yearning for a time that never existed. We’ve come, unexpectedly, back to baseball. “The country is prey to nostalgia,” Mathis writes, “which is the ultimate, backward-looking unreality. And also prey to a kind of preservation of a status quo that is also based on a fantasy of the past: a moment in time in which you could keep your factory job forever, pull yourself up by your bootstraps, and life was all baseball and Cracker Jacks. Well, that was never the reality of America, certainly never for all Americans. But we move forward, politically and psychically, as though that nostalgic reality was in fact real.” Yes, that’s precisely how we move forward. This was brought home to me during the seventh-inning stretch at the ballgame on Staten Island. After the fans stood and belted out that harmless bit of doggerel, “Take Me Out to the Ballgame,” the announcer asked everyone to remain standing and remove their hats. Everyone, players included, turned toward center field, where an image of Old Glory started fluttering on the Jumbotron above the outfield wall. Suddenly we were being bombarded by that blast of jingoism, Kate Smith’s rendition of “God Bless America.” This sent me over the edge. I left my hat on and bolted for the nearest beer stand and stayed gone until the game had resumed. I couldn’t stop the nonsense, but at least I could refuse to participate in it. As I rode the ferry back across the harbor after the game, I performed an autopsy on my day, which had begun in high spirits and ended in something close to despair. It occurred to me that it was inevitable—and almost too easy—to see the day in the context of our national moment. The standing ovation for Josh Hader comes at a time when the president of the United States refuses to condemn murderous white nationalists—and urges the owners of NFL football teams to fire any player who kneels during the playing of the national anthem to protest police killings of unarmed black people. That president has declared that poverty no longer exists in America. The millions who lap up his exhortation to Make America Great Again are the people who yearn to preserve a status quo that is based on a fantasy that never existed, a time when “life was all baseball and Cracker Jacks.” I have loved the game of baseball all my life, and still do. I object to the uses the game is now being put to—as booster of patriotism, as a smokescreen for “traditionalists” to treat people unequally, as a safe haven for abhorrent behavior. Meanwhile, beyond the outfield wall, the rich get richer and the poor get poorer and the nation is mired in the two longest wars in its history. So this is what we as a nation have come to, I told myself as the boat slid past the Statue of Liberty: a nation lost in dreamtime. James Baldwin and Ayana Mathis nailed it. Nostalgia is the ultimate unreality, and yes: The nostalgia-drenched game of baseball is definitely a symptom of what’s wrong with America. But it’s just the beginning of a much larger story. Image: Flickr/Andrew Malone

Beethoven Got There First

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Pity the novel.  Once upon a time it was a big, baggy story told in chronological order by an omniscient narrator.  Over time, it’s been marginalized, shunned, belittled, banned, and more recently, broken into pieces that vie with each other to make a cohesive whole.  You could blame dwindling attention spans, pared down by digital toys.  It’s ancient history that any TV viewer can either reorder or skip scenes at home.  Now we spend a day streaming series that took years to air, let alone produce.  The consequences of contemporary viewing preferences are the random jumbling of storyline, as well as time’s transposition and compression.  Why wouldn’t novels follow suit? When I first started thinking about this, I looked for parallels with how we share personal stories in our increasingly scarce private lives.  Individual narratives are never linear, nor do we recount them to each another in a linear fashion.  Small wonder that contemporary novels unfold out of order. And yet, I’m sure there’s more.  Michael David Lukas, reaching into the musical lexicon to examine novel developments, used the term “polyphonic” (referring to a chorus or multiplicity of voices) to make an intriguing argument:   “Polyphony widens the novel’s geographic, psychological, chronological, and stylistic range, while simultaneously focusing its gaze.” Lukas cites Nicole Krauss’s Great House and Tom Rachman’s The Imperfectionists.  Categorized as “novels,” these books are linked short stories with a common item or thread running through the chapters.  In Great House, it’s a desk; in The Imperfectionists, it’s the characters’ association with an English language newspaper published in Rome.  More recently, Ayana Mathis’s The Twelve Tribes of Hattie has a character -- Hattie -- who serves as the common element.  Lukas uses  “polyphony” to describe novels that further increase structural complexity by inverting time and space.  For example, David Mitchell’s Cloud Atlas is populated with seemingly unrelated characters, geography, and time periods.  Bob Shacochis’s The Woman Who Lost Her Soul shares similarities.  The action is set against historical events that are presented out of chronological order within diverse geographies and between seemingly unrelated protagonists. Ted Gioia, a musician and writer, followed Lukas with an essay written in fragmented bits of text, probing why the novel is breaking up, accompanied by an ambitious 57-volume booklist. Gioia places the fracturing novel in a broad cultural context that includes Thelonious Monk as the “jazzman of fragmentation” and Wittgenstein as its philosopher.  Applauding the current fragmenters for successfully navigating literary complexity and traditional storytelling (aka plot), Gioia affirms that despite fission, novel craft is improving.  Even if master short story writer Alice Munro were not the most recent Nobel laureate, every writer worth her salt knows that writing lean is far more difficult than producing the more leisurely, lazy, lengthy counterpart. Except that novels are swelling again.  Not only did last year’s Booker Prize winner, Eleanor Catton’s The Luminaries clock in at 848 pages, but several equally celebrated books boast equivalent heft, including Donna Tartt’s The Goldfinch, Elizabeth Gilbert’s The Signature of All Things, and Shacochis’s The Woman Who Lost Her Soul. Why?  Ted Gioia offers a theory.  “All experimental approaches in the arts can perhaps be divided into two categories -- experiments of disjunction or experiments of compression.  Either things get pushed apart, or get squeezed together.  Either an aesthetic of disintegration, or an aesthetic of wave-like flow.” The Grand Experimenter, it turns out, was Ludwig van Beethoven.  This musical colossus, completely deaf, his personal affairs in chaos, perennially behind in his finances, unwell and unloved, reworked the string quartet in ways that continue to bewilder and astonish.  The six late quartets, for two violins, viola, and cello, were composed within two years of Beethoven’s death in 1827.  They are called by their opus numbers: 127, 130, 131, 133, 132, 135 (don’t ask about numerical order).  These pieces span the experimental pendulum’s trajectory.  The composer not only fractured, he compressed and expanded as well. Beethoven’s earlier quartets and those of his predecessors and successors as well, generally have four movements:  a lively opening, a slow second movement, a “minuet and trio” movement beat in three (the order of the second and third are often reversed), and an authoritative final movement.  Around structure, Beethoven went rogue with his late quartets.  He took the traditional four-movement quartet, split it up, and then both condensed and augmented it.  Opus 130 has six movements as opposed to the usual four; Opus 131 has seven that are played/performed without a break as one long movement; and Opus 132 has five.  Opus 133, the Grosse Fugue, is a one-movement leviathan.  It was meant to be the sixth and final movement to Opus 130, but was horrendously difficult and got an appalling reception.  “I think, with Voltaire, ‘that a few gnat-stings cannot arrest a spirited horse in his course,’” Beethoven said of critics.  However, he bowed to outside pressure and  lopped off the Grosse Fugue, publishing it as a stand-alone composition.  Then wrote a frothy new ending that was the last piece he completed. Within these overarching structures, Beethoven took traditional form and forged new trails.  For example, he quarried the unconventional from the garden-variety “minuet and trio” movement.  All but two of the late quartets contain such a movement, beat in three according to the rules, and organized thematically just as Haydn or Mozart would have done.  In these movements, however, Beethoven plays with rhythm by blurring the lines between measures.  He foreshortens melodic line and accelerates tempo.  In other words, most of these movements go at breakneck speed and/or the tune is too fractured to sing along. Beethoven took another well-known form, the theme and variations movement, and stretched and deepened it in new ways.  Opus 127’s second movement opens with an austere violin melody that sets the theme for the variations that follow.  The movement is immense, vastly longer than the slow movements of string quartets that preceded it, including previous slow movements that Beethoven had written.  Here the composer takes his time on a grand scale, luxuriating in the breadth and depth of his melodic creation. The fugue, a melody introduced by one instrument that is subsequently taken up by another instrument, appears in many string quartet movements.  (Think of a round, where the melody travels through various voices and is inverted and lengthened throughout the course of the piece.)  Beethoven’s Grosse Fugue, however, is in a class by itself.  It is the longest of Beethoven’s late quartet movements.  Talk about dense.  With its abrupt, ruptured bursts of sound, the Grosse Fugue is virtually inaccessible on first hearing.  Like the 20th-century music that was to follow, the Grosse Fugue is dissonant.  There are long stretches where rhythm elbows out melody, relentless beats without much tune. One hundred ninety years ago, Beethoven was covering the experimental spectrum, fragmenting and enlarging within the space of a few short years.  His late quartets fluctuate between slower, lyrical movements and faster movements with short, chopped up melody, compacted rhythms, interrupted tempos, and challenging key signatures.  He deployed the four instruments (voices) in novel ways, assembled new harmonies, smashed rhythmic convention, messed with dynamic (volume) markings, upended time signatures, and a whole lot else.  Including inspiring countless artists; for example, T.S. Eliot and the Four Quartets. Beethoven may have turned out to be the Grand Experimenter, but did he actually set out to experiment?  Radical innovation may be the consequence, rather than the cause, of self-expression at this stratospheric level.  Some combination of genius and drive spurred Beethoven’s compositional feats.  To satisfy the demands of his genius, Beethoven tilled new musical ground. His deafness must have played a central role.  Beethoven’s ability to compose through the deafness does not speak to his musicality per se.  Any well-trained composer can pick up a score and understand what’s on the page without playing it.  Beethoven’s deafness speaks instead to something deeper.  In his early 30s, 15 years before his death, Beethoven prepared a document for his brothers.  Named for the place it was written, Beethoven’s “Heiligenstadt Testament” bears witness to the despair and isolation caused by his deafness, as reprinted in Thayer’s Life of Beethoven: Though born with a fiery, active temperament...I was soon compelled to withdraw myself, to live life alone.  If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing...How could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed...For me there can be no relaxation with my fellow-men, no refined conversations, no mutual exchange of ideas.  I must live almost alone like one who has been banished... Despite being the most accomplished musician of his day, Beethoven became unable to perform his piano concertos because he could not hear the orchestra.  He was thwarted from conducting his symphonies and from playing his chamber music.  In short, at the apex of his musical powers, he was prevented from participating in the joy of his own creation, forced to plumb the music in silence. Silence birthed late Beethoven -- music of profound and unparalleled emotional range.  What did Beethoven discover within the silence?  Certainly he found the freedom to buck convention and strike out on his own.  But within the silence, he accessed something more: the arduous, agonizing road to his own mortality.  The late quartets contain movements of such introspection and depth that to partake in the composer’s grief becomes a sublime, transformative experience.  This musical giant is frustrated and raging, tormented by illness and loneliness, wrestling with the divine.  We hear him grappling to make his peace. There isn’t a more majestic, reflective hymn than the fifth “Cavatina” movement to Opus 130.  Beethoven himself said that nothing he had written so moved him; in fact “merely to revive it afterwards in his thoughts and feelings brought forth renewed tributes of tears,” according to Thayer’s Life of Beethoven. Or the transcendent otherworldly opening of Opus 131.  And Beethoven’s rare commentary to Opus 132’s third movement summons the divine directly, “Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" -- “A Convalescent's Holy Song of Thanksgiving to the Divinity, in the Lydian mode.”  The spare, deliberate simplicity of this movement is music of the spheres.  The quartet’s final movement combines longing with agitated dissonance, delivering a sense of cosmic urgency. In the last substantial work Beethoven finished -- Opus 135 -- the listener travels through sanctified territory, accompanying Beethoven to his death. Beethoven’s notes to Opus 135’s fourth movement, printed in the final manuscript above a nine-note tune, read: “’Der Schwer Gefasste Entschluss.’  Muss es sein?  Es muss sein!  Es muss sein!” -- “‘The Difficult Decision.’  Must it be?  It must be!  It must be!” Except that these words are not what they seem.  A story that circulated during Beethoven’s time was that the tune came from a canon Beethoven had penned to capture a patron’s reaction to unwelcome news; Herr Dembscher had been told that to obtain a quartet manuscript for a party he wanted to host, he would have to pay 50 florins. Perhaps these imponderables are meant to remain so; for example why the novel is shrinking or fracturing or expanding or twisting itself into something else.  No matter.  Writers pursuing their creative ends are apt to reinvent the medium for a long time. Image Credit: Wikipedia