Zona: A Book About a Film About a Journey to a Room (Vintage)

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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]

A Year in Reading: Parul Sehgal

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My professional reading life is fairly regimented -- I have to be attentive to new, newsworthy books to assign for review or to write about myself -- and my personal reading habits have become suitably random in response, subject to mood as much circumstance, which, this year, meant the purchase of a new coat. Said coat, a voluminous and awful garment -- moss green, somehow both pilly and prickly -- has, to its credit, pockets like wells. Which meant that I, who do most of my reading on the Q train to and from work, fell in with a group of regular traveling companions. Four books (or rather, 3 and 3/4), whose slenderness was, at first, their chief qualification, took up permanent residence upon my person: a new Picador edition of Marilynne Robinson’s Housekeeping that's about the size of a pack of cards; my friend Brenda Shaughnessy’s 2012 collection of poems Our Andromeda, a book I worship; my husband’s high school copy of Macbeth minus an act or two; and Paula Fox’s Desperate Characters. I read and reread many books in 2015 (my favorite books of the year can be found here and here), but these are the books I kept in orbit, the books I wore out. Desperate Characters, in particular, I couldn’t stop rereading. It’s the type of novel it’s become so fashionable to deride -- one of the “quiet” books about middle-aged women staring out of windows, enjoying quiet epiphanies -- when it’s really a wallop of a book, a barbed portrait of a marriage, not to mention a brilliant take on gentrification, white fears of black and brown people, the hostile insularity of the nuclear family, and how power reproduces and how power conceals itself. And from time to time, sure, the heroine stares out of a window. (It occurs to me now that these books are more connected than not -- they’re all about paralysis and ambition, about moving through trauma, trying to move past it. Reading choices can seem so random, but aren’t we always just digging deeper and deeper grooves into old obsessions?) But it was also a year of discoveries -- the late Czech novelist Bohumil Hrabal was one, the poet Anne Boyer another -- and rediscoveries. I taught a class in criticism, which allowed me to go back and reread a few favorites -- The Sight of Looking at Death by T.J. Clark, Zona by Geoff Dyer, Changing My Mind by Zadie Smith, My Poets by Maureen N. McLane, Sontag and Kael: Opposites Attract Me by Craig Seligman. Most of all I was grateful for the number of writers finding fresh and intelligent ways to think about family life -- I’m thinking of recent books like The Argonauts by Maggie Nelson, On Immunity by Eula Biss, Ongoingness by Sarah Manguso, 10:04 by Ben Lerner -- but also older books, beloved books I returned to as I wrote about these issues in an essay for Bookforum, including Zami by Audre Lorde, The Salt Eaters by Toni Cade Bambara, The Essential Dykes to Watch Out For by Alison Bechdel. These books position the family not in conflict with creativity but an extension of it, not a way of retreating from our obligations to our communities but a reaffirmation of them. It's a lovely thought -- that what tethers us, burdens us can somehow also set us free -- especially to one in a coat bogged down with books, standing on a subway platform too early in the day. More from A Year in Reading 2015 Don't miss: A Year in Reading 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.

The Pleasure of Discursive Commentary: On the Paratext Novel and the Drunken Pornographer

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I used to watch to a lot of DVDs with the audio turned to the commentary track. And not just the monumental works of cinematic wonder the every frame of which is worth analyzing and puzzling over. I worked at a video store -- Sneak Reviews in Charlottesville, Va., one of those great labyrinthine stores stocked like an archive -- and, bringing home DVDs indiscriminately, I found that even a terrible movie could be saved by simply flipping over and listening to the director, writer, or cast, chat away. Though some have taken great pains to push the commentary track to new heights of performance (see the one for the Coen Brothers’ Blood Simple, in which the possibly fictional artistic director “Kenneth Loring” claims scenes were shot upside-down and in reverse), I was more struck by the commentary tracks that are compelling accidentally: people going on tangents, revealing things obliquely they might later regret. Stallone may be dull as a dial-tone for most of his commentary on Cliffhanger, but the end, when he sounds apologetic and genuinely depressed about his life and career, turns out to be the only engaging and human moment on that disk. A friend once even showed me a porno with a commentary track. While the director offers her insights into the filming process, along with increasingly belligerent rants about her colleagues, she gets completely shit-faced. After about 30 minutes, she passes out, and for the rest of the movie, you can hear her snoring breezily in the background. It’s bizarrely compelling, and if I could remember the title, I’d recommend it heartily. It was around this time that I considered writing a short story in the form of a commentary track for an imaginary movie. I never did write that story (it was probably a terrible idea), but it did get me thinking about all the ways that texts supplementary to larger stories -- or “paratexts,” as they’re officially known -- can themselves become stories. Now, years later, I’m publishing my first novel, Any Resemblance to Actual Persons, which takes the form of one long cease-and-desist letter. Paul McWeeney’s sister is about to publish a nonfiction book in which she accuses their late father of being the Black Dahlia murderer, so in order to save their father’s name, Paul writes a letter to the publishers trying to refute his sister’s claims. As the novel started to take shape, and I realized that Paul’s story would become a discursive commentary on his sister’s story -- which itself is a discursive commentary on their father’s story -- I began revisiting other books with similar configurations. Pretty soon, I imagined these books forming a loose genre, the Paratext Novel, stories that take the form of -- or at least have the pretense of being -- explicit exegeses of other stories, real or imagined. But perhaps “genre” is not the right word, since these books are not concerned with establishing and enforcing conventions. They are interested in exploring how commentary mediates our lives, how we are so steeped in supplementary material that we rarely directly experiencing whatever it is that material supplements: a phenomenon that these books respond to by making “commentary tracks” more human sites of engagement. Like a lot of people, I still haven’t gotten around to watching Andrei Tarkovsky’s film Stalker, but I found Geoff Dyer’s book Zona -- in which he offers a commentary/summary (which he argues is an “expansion”) of the film -- fascinating, in part for how Dyer’s parallel self-revelation reminds us how we understand our own stories by encountering others. Now, when we pick up a novel, chances are we’ve already seen not just others’ commentary, but also the novelist’s self-commentary in the form of interviews and even articles like this. Whenever a writer comments on his or her own work, there’s inevitably an attempt -- futile and foolish -- to control how readers engage with that work. But, in these books, attempts at controlling the (ostensibly central) story spin wonderfully into their own stories, illustrating and celebrating the impossibility of narrative intervention and the chaos beneath the illusion of control. Since listicles have become the new popular form of supplementary text, here are the top five paratext novels that have been buzzfeeding around my brain. 1. Pale Fire by Vladimir Nabokov: The paratext urtext, or at least the best known, Charles Kinbote’s deranged commentary on John Shade’s 999-line poem features, on its first page, this non-sequitur: “[John Shade] preserved the date of actual creation rather than that of second or third thoughts. There is a very loud amusement park right in front of my present lodgings.” Kinbote’s first interjection here is absurd, hilarious, and even violent in how it forces himself into someone else’s story. As with Lolita, the narrative hinges on control. In that earlier novel, Humbert Humbert not only controls Dolores Haze physically but narratively as well, since he is the one allowed a voice. In Pale Fire, Nabokov more explicitly curates, but also balances, this dynamic, revealing John Shade’s story -- the tragic loss of his daughter that is the impetus for the poem -- before Kinbote tries to absorb it into, and suppresses it with, his own story. It wasn’t until I read Claire Messud’s reminiscent The Woman Upstairs -- about a schoolteacher who becomes obsessed with her student’s family -- that I realized Kinbote is not just infiltrating Shade’s art; he’s infiltrating Shade’s family. 2. U and I by Nicholson Baker: True, this is not technically a novel, but Nicholson Baker’s “closed book examination” of John Updike’s work reads like no other work of nonfiction I’ve read. Though I would never encourage anyone to not read Updike, ignorance of his oeuvre should not keep you from reading U and I. After all, occasional ignorance certainly doesn’t stop Baker himself, as he misremembers and misunderstands, corrects himself and confesses lapses. That is partly why this book is so strange and so funny, but also because it’s the most honest portrayal of a reader’s relationship with a writer I’ve ever come across: one-sided, heavily mediated, existing entirely in his imagination. In Baker’s literary hero-worship, we begin to realize what we probably knew all along, that it uncomfortably echoes a bastard kid striving for legitimacy, and for simple fatherly validation. 3. Edwin Mullhouse by Stephen Millhauser: The full title, Edwin Mullhouse: The Life and Death of an American Writer 1943-1954 by Jeffrey Cartwright, hints at Millhauser’s interest in complicating the commentary track’s implicit attempt at narrative control and usurpation. This novel takes the form of a biography of Edwin Mullhouse, a supposed literary genius, who wrote a novel called Cartoons before dying mysteriously at age 11. His biographer and friend, Jeffery Cartwright, also a small child, is an insanely precocious Boswell whose relationship with his subject grows increasingly unsettling. Whereas in Pale Fire, John Shade has his brief moment at the microphone before Kinbote rushes the stage, in Mullhouse we have no unmediated access to Edwin -- and no unmediated access to the ostensible cause for Edwin’s celebration, his novel Cartoons -- which makes for a more disorienting reading experience. In the fictional introduction, the fictional Walter Logan White writes, “I myself have sternly resisted the temptation to read Cartoons, knowing full well that the real book, however much a work of genius, can no more match the shape of my expectations that the real Jeffrey could.” In creating a commentary track that seems to have supplanted Edwin’s novel, Jeffery seems to have supplanted Edwin, a figurative death equally resonant to Edwin’s literal death that illuminates the entire friendship we see develop between the two. 4. The Tragedy of Arthur by Arthur Phillips: If we close Edwin Mullhouse wondering how much of Edwin’s genius is imagined and manipulated by his biographer-cum-creator Jeffery, in The Tragedy of Arthur, Arthur Phillips -- both author and character -- relocates this distrust to the familiar battle between Stratfordians and anti-Stratfordians. In the 250-page introduction to a recently recovered Shakespeare play, which might actually be a forgery by his father, the character of Arthur Phillips lays out a childhood fraught with questions of trust and veracity. After the introduction, Phillips presents us with the play in question, and it’s a stunning act of impersonation. Seeing the son’s introduction followed by (what might be) the father’s work reminds us how familial this narrative hijacking really is, just as all of these works ultimately boil down to simple family arguments, an interruption around the dinner table: No, let me finish this story. 5. Flaubert’s Parrot by Julian Barnes: Though published in 1985, this novel, featuring narrator Geoffrey Braithwaite’s discursive commentary on Flaubert’s life and work, is my most recent addition to this genre. I borrowed it from my dad after a recent trip to France, where my girlfriend and I visited the Musée Flaubert et d’Histoire de la Medecine. Flaubert’s childhood house in Rouen is now a museum dedicated to both his work as a writer and his father’s work as a surgeon. Although the museum’s marriage of literary and medical does at first feel incongruous, it does form a kind of commentary track, inviting us to see the work of father in son in concert. For example, a sly curator has throughout displayed passages from Gustave’s Dictionary of Received Ideas, and the son’s quote that “all men of letters are constipated” is displayed not far from the father’s very invasive-looking devices to unblock reticent colons -- both of which, consolation and cure, would be resonant to anyone suffering the effects of a French diet. Mostly, though, it’s the areas of seeming discord that are most striking. The room featuring Gustave’s childhood scribbles is right next to the room featuring the embalmed cadavers that good ol’ Dad tinkered with two centuries ago. And it’s not just human bodies that are preserved there; you can also see Flaubert’s actual parrot, taxidermied and propped on a bench in a closet. In the lobby, adjacent to an uncomfortable exhibit on Napoleonic-era gyno exams, they sell copies of Flaubert’s novels alongside Julian Barnes’s Flaubert’s Parrot, which is “possibly the wittiest anti-novel since Nabokov’s Pale Fire.” Or at least that is how The Boston Globe describes it in the blurb printed on the back. Which is to say: I haven’t read the actual book yet -- it’s still sitting patiently on my coffee table -- but according to the paratextual commentary on the novel, the blurbs and reviews that I have read, it seems entirely appropriate.

A Year in Reading: Buzz Poole

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After years of taunting me from a bookshelf close to my desk, I’ve finally faced up to the portrait of Robert Musil spread across the two spines that hold together The Man Without Qualities. The decision to read this modernist masterwork started out as a reluctant acceptance of a self-imposed challenge. I mean, who really wants to read over 1,000 pages about Austrian-Hungarian aristocrats trying to invent ideas about how to maintain power structures that have already crumbled? Yet Musil, who started the book in 1921 and worked on it until his death in 1942, wastes no time establishing a scope of ideas that are prescient and read as if written today, fully-realized observations of how commerce and industry render us anonymous cogs in a great global machine that chips away at the individual. Here are two gems to whet your appetite: “A world of qualities without a man has arisen, of experiences without the person who experiences them, and it almost looks as though ideally private experience is a thing of the past;” “Democracy means, expressed most succinctly: Do whatever is happening!” I don’t like toting around big books though, so when on the move my reads were physically lighter but just as memorable. Michael Ondaatje’s Divisadero is like a translation of itself, stories told and retold across eras between Northern California and rural France, hauntingly delicate like whispers not meant to be heard. The Bay Area is also a character in McTeague. Frank Norris’s tale of a boarding house dentist has all the qualities of any good story -- faith in the future, betrayal, soured romance, comic relief -- not to mention a Death Valley showdown that makes for one of those pitch-perfect endings. All writers should aim to wrap up their stories with such precision. And though I read it early this year, and reviewed it here, I keep thinking about Geoff Dyers’s Zona, erudite, intimate, and humorous, I wish more books about other works of art were so assured and capable. More from A Year in Reading 2012 Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.

A Year in Reading: Antoine Wilson

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Because of an illegal u-turn en route to this year's Los Angeles Times Festival of Books, I found myself enrolled in online traffic school this summer. The course required that I pass a series of quizzes, all of them simple, before proceeding to the final exam. The whole thing could have taken less than a half-hour, but because this wasn't solely a rehabilitative affair, I had to watch a timer click down 40 minutes before I could move on to the next quiz, turning 30 minutes of work into seven hours of inconvenience. I had already read the beginning of Zona, Geoff Dyer's meditation-cum-liveblog of Tarkovsky's Stalker, but I knew I'd have to see the film before proceeding further. So, pre-loaded with some idea of where Dyer was headed, I watched Stalker in 40-minute chunks on YouTube, while waiting for the next traffic school quiz to appear. Anyone who cares in the least about film, film history, Tarkovsky, artists and their intentions, or high culture in general, probably wants to poke me in both eyes with a sharp stick right now. I might as well have been reading Ulysses while directing traffic. And yet the film worked its magic on me, much as it had worked its magic on Dyer, when he first saw it in his youth (in more traditionally ideal conditions). I devoured Zona soon afterwards, and I can only describe the experience as getting to re-watch a brilliant film in my mind, this time seated next to a highly voluble and intelligent friend. A unique reading experience, and one I'm grateful for. Other than my traffic school experience, I can divide my reading year into the periods before and after I read Sarah Manguso's spare and penetrating The Guardians: An Elegy. It floored me. Bracingly smart, moving, and sometimes very funny, this slim volume charts Manguso's relationship with her friend Harris, who two years earlier escaped from a psych ward and jumped to his death under a Metro-North train. In so doing, it exemplifies how writing can serve as both bulwark against and passage into life's vicissitudes. This year I also read The Pale King by David Foster Wallace, a book about which every writer known to man seems to have volumes to say. Not me. It left me inarticulate and emotional, as if I'd been zapped back in time to the broodiest moments of my childhood. I expect to spend the rest of my life staring across vast space at Wallace's unfinished Death Star, wondering “What if?” More from A Year in Reading 2012 Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.

Mark Binelli Explains Why Detroit City Is the Place to Be

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1. Two Guys Walk Into a Bar We agreed to meet in a dive called the Motor City Bar, a couple of Detroit guys drawn together by a rare chance to watch our hometown Tigers play in the World Series. The bar is located, oddly enough, on New York City's Lower East Side, 650 miles from Detroit but just a few blocks from where we now live. Beer and baseball were merely an excuse for getting together. The real reason Mark Binelli and I met in the Motor City Bar was to talk about his terrific new book about our hometown, Detroit City Is the Place to Be: The Afterlife of an American Metropolis. The book is a long-overdue and hugely welcome corrective to the one-dimensional narrative of urban decay that has been spewing out of Detroit roughly since 1970, the year Binelli, the son of Italian immigrants, was born. My family had moved away from Detroit a year earlier, after I'd spent the first 17 years of my life there. In other words, Binelli and I are a generation apart and we experienced the two very different sides of the Detroit coin: I was lucky to surf the glory years of Mustangs and Motown and the MC5, while Binelli rode the relentless downward spiral of layoffs, factory shutdowns, declining population and rising crime, and the wholesale transfer of blue-collar jobs to non-union southern states and to worker-unfriendly countries like Mexico and China. "For people of my generation and younger," Binelli, 42, writes, "growing up in the Detroit area meant growing up with a constant reminder of the best having ended a long time ago. We held no other concept of Detroit but as a shell of its former self. Our parents could mourn what it used to be and tell us stories about the wonderful downtown department stores and the heyday of Motown and muscle cars. But for us, those stories existed as pure fable." Despite this divide, it turns out that Binelli and I have much in common. His book grew out of an assignment for Rolling Stone magazine, which sent him home in early 2009 to cover the American International Auto Show and, more broadly, Detroit's teetering auto industry. The omens at the time were dire: Binelli arrived the week of Barack Obama's inauguration, as the world was plunging into a vicious recession; Michigan's unemployment was above 15 percent; the former mayor of Detroit was in jail after resigning over a sex and corruption scandal; and the leaders of Chrysler and General Motors, two of the domestic auto industry's so-called Big Three, had just returned from Washington, where they'd gotten down on their knees and begged for a federal bailout. After finishing the magazine assignment, Binelli decided to stay in town and keep digging. For the next two and half years he lived near the Eastern Market, where, as a teenager, he had made deliveries for his father's knife-sharpening business. (Binelli's only novel, Sacco and Vanzetti Must Die!, stars a pair Italian slapstick comedians who specialize in throwing very sharp knives and very messy pies at one another.) Binelli talked to everyone he met – businessmen who had moved their operations from the suburbs into vacant downtown buildings; creative young people who had recently arrived, eager to take advantage of cheap rents and the city's anything-goes atmosphere; natives who had fled, attended top colleges, then come home to try to make a difference; urban farmers and gardeners; the students and staff at a successful magnet school for pregnant teenagers and young mothers; plus a colorful gallery of firefighters, autoworkers, artists, metal scrappers, vigilantes, entrepreneurs, bloggers, and activists. The deeper he went into the story, the more convinced he became that the negative old narrative had played itself out. In its place was emerging a new sense of purpose and possibility. "It didn't make rational sense, I knew, but I found myself edging over to the side of the optimists," Binelli writes. "I couldn't say why; it happened gradually, on the level of anecdote: I caught myself noticing and relishing slight indicators that in aggregate (or perhaps viewed through lenses with the proper tinting) couldn't help but make you feel Detroit's luck, despite such unimaginable obstacles, might still turn." 2. "The Messiah Is Us." As our first beers arrived and the World Series game began, I told Binelli that I'd had a weirdly parallel experience. In January of this year, just as Binelli was wrapping up the research for his book, I got an assignment to write a series of articles for Popular Mechanics magazine, positing that Detroit's future is actually beginning to look intriguing and surprisingly bright. I hadn't been back to Detroit in more than a decade, so my editor laid out the encouraging signposts for me. There is strong support to build a second bridge linking Detroit and Windsor, Ontario, the busiest international trade crossing in North America, which is now serviced by an ancient bridge owned by a miserly billionaire who pockets all the toll money. There is a growing entrepreneurial class, high-tech businesses are flocking to downtown, and the city's vast open spaces are already being turned into farms and gardens, wild forests and bike paths. My editor, who had visited Detroit numerous times in the past year, promised me that the city is well on its way to becoming an urban environment unlike anything anywhere else in the world. I arrived in time for the 2012 Auto Show, sweating bullets of dread. What would I do if my reporting led me to the conclusion that the rosy story I'd been assigned to write was nothing but a pipe dream? Like Binelli, I knew that Detroit has stubborn, seemingly insurmountable, problems, including high rates of crime, unemployment, and illiteracy, a school system hobbled by years of corrupt and inept management, and a city government so financially strapped that basic services are spotty at best, and sometimes non-existent. For good measure, there are as many as 50,000 stray dogs roaming the streets and empty spaces. To my enormous relief, there was more to see than the well documented blight. I ran into the same energy and determination Binelli had encountered, and before long I, too, found myself edging over to the side of the optimists. It certainly helped that the local auto industry, with a boost from a federal bailout, had not only survived but was suddenly, almost miraculously, turning record profits. But what truly amazed me was that Detroiters shrugged at the news of those profits, and the news that Chrysler was adding a shift and hiring more workers at its humming East Jefferson plant. This was my epiphany. This told me that Detroiters had stopped waiting for salvation from above – a new auto factory, a new government program, a new housing development – because they were too busy saving themselves down at street level. This do-it-yourself ethos was beautifully expressed to me by Jack Kushigian, a native Detroiter who grew up working in his family's machine shop, then went off to San Francisco after college to work as a computer software engineer. Like the members of the reverse diaspora Binelli had encountered, Kushigian came back home to try to make a difference. I met him in the woodworking shop he'd set up in a church basement on the city's hard-hit East Side, where he was teaching neighborhood people how to make furniture out of wood harvested from abandoned buildings, a virtually limitless source of raw materials. "Detroit for years, during its decline, has been hoping for a Messiah," Kushigian told me. "Detroit has finally given up on that. A lot of people in Detroit have a fire burning inside them that I don't see anywhere else. My feeling is that the Messiah is us." 3. America's Mecca After ordering a second round of beers and noting that the Tigers had fallen behind the San Francisco Giants by two runs, I said to Binelli, "I think the thing I hate most about the way people perceive Detroit is ruin porn – you know, all those books full pictures of gorgeous abandoned buildings and open prairie." "Yeah," Binelli said, "people from Detroit get so inured to it. It's like a New Yorker walking past the Empire State Building and not bothering to look up. I used to think ruin porn in Detroit was voyeuristic and creepy. But it's not necessarily invalid because, let's face it, that's the way the city looks." The remark says a lot. While I reject ruin porn out of hand, Binelli has the subtlety to dislike it but admit it has its place in the narrative. "Why not embrace the mystique?" he went on. "Tourists come to see those ruins. They're a legitimate part of the history of American industry. They're like our Acropolis." When Binelli encountered a group of German college student poking through the gutted Packard plant, he asked what had inspired them to vacation in Detroit. One gleefully replied, "I came to see the end of the world!" A more nuanced reading was offered by a Dutch photographer named Corine Vermeulen, who came to Detroit in 2001 to study at nearby Cranbrook Academy of Art, then stayed on to document the opposite of ruin porn: urban beekeepers and farmers, lowrider car nuts, storefront mosques, and the artwork of the late Detroiter Mike Kelley. "I feel like Detroit is the most important city in the U.S., maybe in the world," Vermeulen told Binelli. "It's the birthplace of modernity and the graveyard of modernity.... Detroit in the present moment is a very good vehicle for the imagination." Vermeulen's favorite movie is Andrei Tarkovsky's Stalker, which is set in a very Detroit-esque post-industrial netherworld called "the Zone," a desolate, forbidding place where it's possible for intrepid visitors to have their deepest desires fulfilled. Vermeulen offered to show Binelli one of Detroit's "Zones," and off they went to a 189-acre prairie on the East Side officially known as "the I-94 Industrial Project," a federally designated tax-free "Renaissance zone," where all the buildings got torn down and the only things that got reborn were grass, wildflowers and a single factory. Vermeulen and Binelli climbed a hill to survey this vast savannah. "From up here," he writes, "it was difficult to believe we were minutes from the downtown of a major American city." In a footnote he adds: Corine had never heard of Geoff Dyer, but in his collection Yoga for People Who Can't Be Bothered to Do It, he makes the same connection, sprinkling his account of a trip to the first Detroit Electronic Music Festival with references to Stalker and the Zone. (My footnote to Binelli's footnote: Geoff Dyer has since published an entire book about Stalker called Zona: A Book About a Film About a Journey to a Room, which we wrote about earlier this year.) Binelli's footnotes are among his book's great pleasures. He knows Detroit's history cold, but he also understands its lore, which may be even more vital to his project's success. Here is his footnote on the source of an early Detroit nickname: See, for example, Newsreel LIX, of John Dos Passos's The Big Money: "the stranger first coming to Detroit if he is interested in the busy, economic side of modern life will find a marvelous industrial beehive...DETROIT THE CITY WHERE LIFE IS WORTH LIVING." To commemorate the roll-out of Ford's Model A in 1927, the modernist photographer and painter Charles Sheeler was hired to photograph Ford's mammoth River Rouge complex. After noting that Sheeler shot the plant the way an 18th-century painter might have depicted the interior of a cathedral, Binelli added this footnote: The most famous shot in Sheeler's series, Criss-Crossed Conveyors, invokes neither grit nor noise but instead an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular conveyor belts forming the shape of what is unmistakably a giant cross. The photograph was originally published in a 1928 issue of Vanity Fair, where the caption read: "In a landscape where size, quantity and speed are the cardinal virtues, it is natural that the largest factory, turning out the most cars in the least time, should come to have the quality of America's Mecca." That word tabernacular is absolutely perfect. After explaining that Edsel Ford paid Diego Rivera $20,000 to paint the famous Detroit Industry murals in the Detroit Institute of Arts, Binelli notes that Rivera's wife, Frida Kahlo, managed to get in a dig on Edsel's father, cranky old, anti-Semitic Henry. Here's the footnote: At a dinner party, Kahlo mischievously asked Ford if he was Jewish. 4. Eminem and Clint The Tigers, meanwhile, were stringing together so many zeroes that the scoreboard was starting to look like a rosary. Naturally I started seeking a scapegoat and decided I wanted the head of the Tigers' hitting coach on a platter. That's another difference between Binelli and me. He doesn't look for scapegoats. Instead, he rejects the conventional reasons for Detroit's decline: greedy labor unions, the 1967 riot (or "uprising," as many black Detroiters still call it), the white flight it supposedly inspired, and the first black mayor it supposedly helped elect, fiery, divisive, foul-mouthed Coleman Young. As Young put it in his memoir, he was able to take over the city administration in 1974 because "the white people don't want the damn thing anymore." If Binelli sees a scapegoat, it's the provincial Midwestern burghers who ran the American auto industry into the ground, cloistered in their enclaves in Grosse Pointe and Bloomfield Hills, oblivious to foreign competition, playing golf while Detroit burned – "the preposterously overpaid executives, with their maddening, sclerotic passivity in the face of their industry's demise." To his credit, Binelli points out that Detroit's decline was a long time in the making, and racial tension was not something that arrived in the 1960s. Since its founding in 1701, the city has always been a racial and ethnic stew, spicy and violent. There was a nasty race riot in 1863, another in 1943 that left 34 Detroiters dead. The city's population peaked in 1952 at about 2 million and has been falling ever since, sometimes gradually, sometimes precipitously. Today it's around 700,000, or about one-third of what it was at its peak, and it's 85 percent black. So the 1967 riot didn't scare off the white people, it merely accelerated an established trend. The auto industry and "urban planners" finished the job, with their ever-bigger cars, their ever-bigger highways, and their zoning laws and red-lining that encouraged suburban sprawl while keeping black people safely sequestered below 8 Mile Road. Oh, and let's not forget the Big Three's willingness to "outsource" jobs, final proof that corporations are not people, they're machines driven by the profit motive and very little else. Certainly not by loyalty to local workers when it's possible to pay somebody in Alabama or Mexico far less to do the same job. The Motor City once had mass transit – until automotive interests realized that people who ride trolleys don't drive cars or ride buses. While covering that Auto Show in 2009, Binelli took a ride on what passes for mass transit in Detroit today – "the People Mover, an elevated tram that runs through downtown Detroit in a three-mile, one-way loop. The city used to have an extensive trolley system, but it was purchased by National City Lines, a front company formed by GM, Firestone, Standard Oil and other automobile interests, after which the trolley tracks were ripped up and replaced with buses. The People Mover began running in 1987 and seems, in its utter uselessness, as if it might have been built by another secret auto industry cabal, as a way of mocking the very idea of public transportation." Such observations show that Binelli, like all accomplished journalists, is equally skeptical of breathless hype and received wisdom, and he can also be very funny. As the TV camera panned across the packed stands in Comerica Park in downtown Detroit, which opened in 2000, Binelli and I had to admit that though we miss long-gone Tiger Stadium we've both developed a grudging admiration for the new park. But his book makes clear that Binelli doesn't buy into the facile media fantasy that sports are an accurate barometer and metaphor for a city's fortunes, such as this serving of horseshit from a CNN columnist: "History has shown that when the city's sports teams start doing well, it's a sign of healing in Detroit." When I mentioned that line from the book, Binelli laughed and said, "It'd be nice if it was true. But it's not." And he rightly lumps Comerica Park and neighboring Ford Field, home of the NFL's Lions, with the dozens of shiny new stadiums littering the land, calling them "state-subsidized giveaways to corporations in exchange for their willingness to locate in the city." Yet there's no denying that cars and sports are still central to the lives of most Detroiters. Nowhere was the convergence – and the narrative power – of these passions more revealing than in the recent Chrysler ads starring Eminem and Clint Eastwood. "It's funny how much people loved those Super Bowl ads," Binelli said. "I think it's because Americans want Detroit to succeed. It's like we need the idea of our worst place coming back. If Detroit can turn it around, then Stockton can too, and Las Vegas, and all those cities in Florida that got hammered by the recession. Now outsiders want to cheer Detroit on." What those Chrysler ads were pitching, he wrote, "had far less to do with cars than an elemental, nearly lost sense of American optimism." My elemental American optimism got snuffed for the night when I watched the final Tiger batter strike out swinging, a fitting exclamation point to a limp 2-0 loss. A loss the next night would complete a dispiriting four-game sweep by the Giants. But as Mark Binelli and I finished one last round and said our goodnights, I wasn't thinking about baseball. I was remembering his remark in the book that he'd been drawn back to Detroit by the chance to influence the story of the century. "It might very well turn out to be the story of the last century, the death rattle of the twentieth-century definition of the American Dream," he wrote. "But there could also be another story emerging, the story of the first great post-industrial city of our new century. Who knows?" Nobody knows – yet. But based on what I've seen with my own eyes and what Mark Binelli and other perceptive observers have written, my money's on the second horse. The longshot. The spavined one that's coming from the back of the pack, coming on strong, and showing signs that she just might emerge as the world's first great post-industrial city. Image credit: Daily Invention/Flickr