Disgrace

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A Year in Reading: Chigozie Obioma

Mischling by Affinity Konar is a lyrical book written with much gusto and power. The story of twin sisters trying to survive the Nazis is at once powerful and harrowing. It has the ambition that great novels, and those that last, carry. The prose is composed and has the energy of a restless dancer, one whom you can not tire from watching even late into the night. And I am sure that it will endure. Although I read and blurbed an advance copy, this is a novel I will return to in the nearest future. The first J.M. Coetzee I read was Disgrace. I picked it up by chance, as I have been hard at work on my second novel, which has in its heart the theme of disgrace. Coetzee's novel has a way of turning the reader into an unacknowledged participant in the disruption of a life. David Lurie, an intellectual, one who works a job similar to mine, will go on to be “disgraced.” Coetzee does not write what you might call abundant prose, but when the authorial gaze becomes razor-sharp, the result is often sensational. And this novel is a testament to the power of his writing. I enjoyed Odafe Atogun’s Taduno’s Song, a novel about Nigeria’s tumultuous years under authoritarian rule. The prose is simplistic, and even sometimes imprecise. This would have marred a lot of novels, but because of the plot of this novel -- the allusiveness of a musician who has returned from a long exile to his homeland where no one remembers him -- the prose works. When the story veers towards its end, we are awakened to the power and strength of this debut novel, and everything feels like a kind of trick -- a trick on the soul of the reader. The novel comes to the U.S. next year, and I hope people will give it a chance. More from A Year in Reading 2016 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005

The Prizewinners 2013/2014

With last month's awarding of the International IMPAC Dublin Literary Award, the 2013/2014 literary award season is now over, which gives us the opportunity to update our list of prizewinners. Literary prizes are, of course, deeply arbitrary in many ways; such is the nature of keeping score in a creative field. Nonetheless, our prizewinners post is compiled in the same spirit that one might tally up Cy Young Awards and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and help secure them places on literature class reading lists for decades to come. 2013/14 was a suprisingly diverse year when it comes to literary awards, with no single novel winning multiple awards and very little crossover on the shortlists. Only one book is climbing the ranks this year. Donna Tartt's The Goldfinch, which won the Pulitzer and was on the National Book Critics Circle shortlist. Next year, we will need to make some changes to our methodology. When compiling this list, I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa (formerly the Whitbread) from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. However, now that the Booker Prize will be open to English-language books from all over the world, including the U.S., the panel of awards is now lopsided in favor of the U.S. Is there another British-only award that we can use to replace the Booker next year? I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award (formerly the Whitbread) bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods were added to point totals from last year. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 2010, A Visit from the Goon Squad by Jennifer Egan - C, I, P 8, 2009, Wolf Hall by Hilary Mantel - B, C, W 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, I, P 8, 1997, Underworld by Don DeLillo - C, I, N, P 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W >6, 2012, Bring Up the Bodies by Hilary Mantel - B, W 6, 2009, Let the Great World Spin by Colum McCann - N, I 6, 2009, Home by Marilynn Robinson - C, N, I 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2013, The Goldfinch by Donna Tartt - P, C 5, 2012, Billy Lynn's Long Halftime Walk by Ben Fountain - C, N 5, 2012, The Orphan Master's Son by Adam Johnson - C, P 5, 2011, Binocular Vision by Edith Pearlman - C, N 5, 2011, The Sense of an Ending by Julian Barnes - B, W< 5, 2009, Brooklyn by Colm Tóibín - W, I 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Tóibín - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P

The Prizewinners 2012/2013

With last month's awarding of the International IMPAC Dublin Literary Award, the 2012/2013 literary award season is now over, which gives us the opportunity to update our list of prizewinners. (In fact, 2013/2014 has already begun with the unveiling of the diverse Booker longlist.) Literary prizes are, of course, deeply arbitrary in many ways; such is the nature of keeping score in a creative field. Nonetheless, our prizewinners post is compiled in the same spirit that one might tally up Cy Young Awards and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and help secure them places on literature class reading lists for decades to come. There are three books climbing the ranks this year. Hilary Mantel's Cromwell sequel Bring Up the Bodies landed fairly high on the list after sweeping both of Britain's major literary awards (though the book hasn't quite matched the hardware racked up by Mantel's Wolf Hall). Meanwhile, Billy Lynn's Long Halftime Walk by Ben Fountain and The Orphan Master's Son by Adam Johnson both won notice from more than one literary prize last year. Here is our methodology: I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa (formerly the Whitbread) from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. A glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out. I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award (formerly the Whitbread) bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods were added to point totals from last year. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 2010, A Visit from the Goon Squad by Jennifer Egan - C, I, P 8, 2009, Wolf Hall by Hilary Mantel - B, C, W 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, I, P 8, 1997, Underworld by Don DeLillo - C, I, N, P 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W 6, 2012, Bring Up the Bodies by Hilary Mantel - B, W 6, 2009, Let the Great World Spin by Colum McCann - N, I 6, 2009, Home by Marilynn Robinson - C, N, I 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2012, Billy Lynn's Long Halftime Walk by Ben Fountain - C, N 5, 2012, The Orphan Master's Son by Adam Johnson - C, P 5, 2011, Binocular Vision by Edith Pearlman - C, N 5, 2011, The Sense of an Ending by Julian Barnes - B, W< 5, 2009, Brooklyn by Colm Tóibín - W, I 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Tóibín - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P

The Prizewinners 2011/12

With the awarding of the International IMPAC Dublin Literary Award, the 2011/2012 literary award season is now over, which gives us the opportunity to update our list of prizewinners. Literary prizes are, of course, deeply arbitrary in many ways; such is the nature of keeping score in a creative field. Nonetheless, our prizewinners post is compiled in the same spirit that one might tally up Cy Young Awards and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and help secure them places on literature class reading lists for decades to come. There are three books climbing the ranks this year. Jennifer Egan's A Visit from the Goon Squad moved up thanks to landing on the IMPAC shortlist and is now in some rarefied company among the most honored books of the last 20 years, while The Sense of an Ending by Julian Barnes and Binocular Vision by Edith Pearlman both won notice from more than one literary prize last year. Here is our methodology: I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out. I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread] bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods were added to point totals from last year. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 2010, A Visit from the Goon Squad by Jennifer Egan - C, I, P 8, 2009, Wolf Hall by Hilary Mantel - B, C, W 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, I, P 8, 1997, Underworld by Don DeLillo - C, I, N, P 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W 6, 2009, Let the Great World Spin by Colum McCann - N, I 6, 2009, Home by Marilynn Robinson - C, N, I 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2011, Binocular Vision by Edith Pearlman - C, N 5, 2011, The Sense of an Ending by Julian Barnes - B, W 5, 2009, Brooklyn by Colm Tóibín - W, I 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Tóibín - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P

The Prizewinners 2010/2011

With the awarding of the International IMPAC Dublin Literary Award, the 2010/2011 literary award season is now over, which gives us the opportunity to update our list of prizewinners. Literary prizes are, of course, deeply arbitrary in many ways; such is the nature of keeping score in a creative field. Nonetheless, our prizewinners post is compiled in the same spirit that one might tally up Cy Young Awards and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and help secure them places on literature class reading lists for decades to come. There are three books climbing the ranks this year. Jennifer Egan's A Visit from the Goon Squad unsurprisingly had a good showing with judges. Meanwhile, the IMPAC win puts Colum McCann's Let the Great World Spin on our list, and the shortlist nod does the same for Colm Tóibín's Brooklyn. Here is our methodology: I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out. I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread] bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods were added to point totals from last year. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 2009, Wolf Hall by Hilary Mantel - B, C, W 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, P, I 8, 1997, Underworld by Don DeLillo - C, I, N, P 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W 6, 2010, A Visit from the Goon Squad by Jennifer Egan - C, P 6, 2009, Let the Great World Spin by Colum McCann - N, I 6, 2009, Home by Marilynn Robinson - C, N, I 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2009, Brooklyn by Colm Tóibín - W, I 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Toibin - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P

A Year in Reading: Sigrid Nunez

I began 2010 in Provincetown reading J. M. Coetzee’s latest book, Summertime. Though published as a novel, Summertime can be read as a sequel to Coetzee’s two volumes of memoir, Boyhood: Scenes from Provincial Life and Youth: Scenes from Provincial Life II, both of which Coetzee wrote in the third person. In Summertime, a famous writer named John Coetzee has died. The book is made up largely of a young biographer’s interviews with various people (all but one female) who once knew the writer. Much of what these people have to say is unflattering, at times contemptuous and even cruel. When their words are put together with excerpts from the writer’s journals, a fascinating—if less than lovable—portrait of “Coetzee” emerges. This is a strange, poignant, and often very funny hybrid of a book, though, for me, not quite as haunting as the earlier autobiographical works, particularly Boyhood. The end of 2010 finds me in Marfa, Texas, reading Coetzee again. Coetzee has long been a favorite writer of mine, the restraint and asceticism of his short books making so much other literary writing seem undisciplined and turgid by comparison. I had read almost all his work, but in the house where I’m staying I found two novels I hadn’t gotten around to yet: The Age of Iron and Life and Times of Michael K. The bleakness of the characters’ lives (hopelessly sick, poor, friendless souls crushed by South African society’s brutal systems) makes for almost unbearable reading. Yet Coetzee seems to me one of the few contemporary writers whose work can be called "necessary" without fear of overstatement. And who else could have written Waiting for the Barbarians and Disgrace? For years people have been urging me to read James Galvin’s The Meadow, and this year I finally did. The Meadow is the story of a particular piece of land in a mountainous region on the border of Colorado and Wyoming over a period of a century. It is both a natural history of the place and a portrait of the various people—ordinary in some ways, utterly extraordinary in others—who have struggled to make their lives there. As the meadow lies on the border of two states, so The Meadow lies between fiction and nonfiction. Not like any other book I’ve ever read, almost a new genre, it contains passages as beautifully written as anything in American literature. When I read work as fine as that of either of these two wonderful writers I think: I’ll write like that in heaven. More from a Year in Reading 2010 Don't miss: A Year in Reading 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

The Prizewinners 2009/2010

With the awarding of the International IMPAC Dublin Literary Award, the 2009/2010 literary award season is now over, which gives us the opportunity to update our list of prizewinners. Though literary prizes are arbitrary in many ways, our prizewinners post is compiled in the same spirit that one might tally up batting titles and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and secure them places on literature class reading lists for decades to come. There are two books climbing the ranks this year. With an impressive showing with the judges, Hilary Mantel's Wolf Hall has become something of an instant classic, landing near the top of the list and in very good company. Meanwhile, the IMPAC shortlist nod puts Marilynn Robinson's Home side-by-side with her much praised Gilead from 2004. Here is our methodology: I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out. I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread] bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods were added to point totals from last year. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 2009, Wolf Hall by Hilary Mantel - B, C, W 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, P, I 8, 1997, Underworld by Don DeLillo - C, I, N, P 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W 6, 2009, Home by Marilynn Robinson - C, N, I 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Toibin - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P

A Year in Reading: Kate Christensen

I can't choose between the two best books I've read all year, but they're both by J.M. Coetzee -- Disgrace and Summertime. They are equally riveting, uncompromising, heartbreaking, painfully intelligent, fully achieved portraits of human loneliness of a specific kind: that of the principled, bookish, socially awkward, essentially passive male. The books are also about South Africa, or rather, the book's protagonists are inextricably bound up in, defined and limited and shaped by, that country's climate -- political, social, historical, meteorological. Any outrage Coetzee evokes with his various portrayals of the treatments of animals, of blacks, of women, is achieved without raising the decibel level of his voice above the mildly conversational. Therein lies much of his narrative power, his power to entertain and to shock: he isn't cerebral or inaccessible, which seems to be a prevailing impression of him. He's just unusually restrained, and his occasional swellings are generally in the direction of mordant humor, which is in its way as daring and risky as anything he says or writes about. Disgrace is a novel, Summertime a fictionalized memoir, but both transcend genre labels -- they feel sui generis, having emerged as wholly necessary, full-blown things. Coetzee has received death threats and a Nobel Prize -- there is no question in my mind that he wholly deserved the latter, and as for the former, his work is so seemingly quiet, its surface as still as glass, in its essence without apparent controversy or intentional provocation, any official or unofficial desire to squelch this radiantly clear, steady, sane voice must be due to its ability to expose by example its opposite qualities wherever they exist and thereby to awaken a sense of virulent threat in those who possess them. But Coetzee's only weapons seem to be laser-focused subtlety and fiercely intelligent clarity -- he is a great writer, and these are great books. More from A Year in Reading

The Prizewinners 2008/2009

With the awarding of the International IMPAC Dublin Literary Award last week, the 2008/2009 literary award season is now over, which gives us the opportunity to update our list of prizewinners. Though literary prizes are arbitrary in many ways, our prizewinners post is compiled in the same spirit that one might tally up batting titles and MVPs to determine if a baseball player should be considered for the Hall of Fame. These awards nudge an author towards the "canon" and secure them places on literature class reading lists for decades to come. Most notably, after being named to the IMPAC shortlist, The Brief Wondrous Life of Oscar Wao by Junot Díaz has joined the ranks of the most celebrated novels of the last 15 years, making it, along with the other books near the top of the list, something of a modern classic. Here is our methodology: I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Costa from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out. I looked at these six awards from 1995 to the present, awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread] bold=winner, red=New to the list or moved up* the list since last year's "Prizewinners" post *Note that the IMPAC considers books a year after the other awards do, and so this year's IMPAC shortlist nods added to point totals from last year in the case of three books. 11, 2003, The Known World by Edward P. Jones - C, I, N, P 9, 2001, The Corrections by Jonathan Franzen - C, I, N, P 8, 1997, Underworld by Don DeLillo - C, I, N, P 8, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, P, I 7, 2005, The March by E.L. Doctorow - C, N, P 7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W 7, 2002, Middlesex by Jeffrey Eugenides - I, N, P 7, 2001, Atonement by Ian McEwan - B, C, W 7, 1998, The Hours by Michael Cunningham - C, I, P 7, 1997, Last Orders by Graham Swift - B, I, W 7, 1997, Quarantine by Jim Crace - B, I, W 6, 2005, The Inheritance of Loss by Kiran Desai - B, C 6, 2004, Gilead by Marilynn Robinson - C, P 5, 2008, The Secret Scripture by Sebastian Barry - B, W 5, 2008, Olive Kitteridge by Elizabeth Strout - C, P 5, 2007, Tree of Smoke by Denis Johnson - N, P 5, 2006, The Road by Cormac McCarthy - C, P 5, 2006, The Echo Maker by Richard Powers - N, P 5, 2005, Europe Central by William T. Vollmann - C, N 5, 2005, The Accidental by Ali Smith - B, W 5, 2004, The Master by Colm Toibin - B, I 5, 2003, The Great Fire by Shirley Hazzard - I, N 5, 2001, True History of the Kelly Gang by Peter Carey - B, I 5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P 5, 2000, The Blind Assassin by Margaret Atwood - B, I 5, 1999, Waiting by Ha Jin - N, P 5, 1999, Disgrace by J.M. Coetzee - B, C 5, 1999, Being Dead by Jim Crace - C, W 5, 1998, Charming Billy by Alice McDermott - I, N 5, 1997, American Pastoral by Philip Roth - C, P 5, 1996, Every Man for Himself by Beryl Bainbridge - B, W 5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P 5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W 5, 1995, The Ghost Road by Pat Barker - B, W 5, 1995, Independence Day by Richard Ford - C, P 5, 1995, Sabbath's Theater by Philip Roth - N, P 4, 2008, Home by Marilynn Robinson - C, N 4, 2008, The Lazarus Project by Aleksandar Hemon - C, N 4, 2007, The Reluctant Fundamentalist by Mohsin Hamid - B, I 4, 2007, Animal's People by Indra Sinha - B, I 4, 2005, Veronica by Mary Gaitskill - C, N 4, 2005, Arthur and George by Julian Barnes - B, I 4, 2005, A Long, Long Way by Sebastian Barry - B, I 4, 2005, Never Let Me Go by Kazuo Ishiguro - B, C 4, 2005, Shalimar the Clown by Salman Rushdie - I, W 4, 2004, Cloud Atlas by David Mitchell - B, C 4, 2003, Brick Lane by Monica Ali - B, C 4, 2003, Bitter Fruit by Achmat Dangor - B, I 4, 2003, The Good Doctor by Damon Galgut - B, I 4, 2003, Evidence of Things Unseen by Marianne Wiggins - N, P 4, 2002, Family Matters by Rohinton Mistry - B, I 4, 2002, The Story of Lucy Gault by William Trevor - B, W 4, 2001, A Fine Balance by Rohinton Mistry - B, I 4, 2001, Bel Canto by Ann Patchett - I, N 4, 2001, John Henry Days by Colson Whitehead - N, P 4, 2001, Oxygen by Andrew Miller - B, W 4, 2000, The Keepers of Truth by Michael Collins - B, I 4, 2000, When We Were Orphans by Kazuo Ishiguro - B, W 4, 2000, Blonde by Joyce Carol Oates - N, P 4, 1999, Our Fathers by Andrew O'Hagan - B, I 4, 1999, Headlong by Michael Frayn - B, W 4, 1999, The Blackwater Lightship by Colm Toibin - B, I 4, 1997, Autobiography of My Mother by Jamaica Kincaid - C, I 4, 1997, Grace Notes by Bernard MacLaverty - B, W 4, 1997, Enduring Love by Ian McEwan - I, W 4, 1997, The Puttermesser Papers by Cynthia Ozick - I, N 4, 1996, Alias Grace by Margaret Atwood - B, I 4, 1995, In Every Face I Meet by Justin Cartwright - B, W

The Prizewinners Revisited

A while back, I put together a post called "The Prizewinners," which asked what books had been decreed by the major book awards to be the "best" books over that period. These awards are arbitrary but just as a certain number of batting titles and MVPs might qualify a baseball player for consideration by the Hall of Fame, so too do awards nudge an author towards the "canon" and secure places on literature class reading lists in perpetuity.With two and a half years passed since I last performed this exercise, I thought it time to revisit it to see who is now climbing the list of prizewinners.Here is the methodology I laid out back in 2005:I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Whitbread from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out.I looked at these six awards from 1995 to the present awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Costa Book Award [formerly the Whitbread]bold=winner, **=New to the list since the original "Prizewinners" post11, 2003, The Known World by Edward P. Jones - C, I, N, P9, 2001, The Corrections by Jonathan Franzen - C, I, N, P8, 1997, Underworld by Don DeLillio - C, I, N, P7, 2005, The March by E.L. Doctorow - C, N, P **7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W7, 2002, Middlesex by Jeffrey Eugenides - I, N, P7, 2001, Atonement by Ian McEwan - B, N, W7, 1998, The Hours by Michael Cunningham - C, I, P7, 1997, Last Orders by Graham Swift - B, I, W7, 1997, Quarantine by Jim Crace - B, I, W6, 2007, The Brief Wondrous Life of Oscar Wao by Junot Díaz - C, P **6, 2005, The Inheritance of Loss by Kiran Desai - B, C **6, 2004, Gilead by Marilynn Robinson - B, P5, 2007, Tree of Smoke by Denis Johnson - N, P **5, 2006, The Road by Cormac McCarthy - C, P **5, 2006, The Echo Maker by Richard Powers - N, P **5, 2005, Europe Central by William T. Vollmann - C, N **5, 2005, The Accidental by Ali Smith - B, W **5, 2004, The Master by Colm Toibin - B, I **5, 2003, The Great Fire by Shirley Hazzard - I, N5, 2001, True History of the Kelly Gang by Peter Carey - B, I5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P5, 2000, The Blind Assassin by Margaret Atwood - B, I5, 1999, Waiting by Ha Jin - N, P5, 1999, Disgrace by J.M. Coetzee - B, C5, 1999, Being Dead by Jim Crace - C, W5, 1998, Charming Billy by Alice McDermott - I, N5, 1997, American Pastoral by Philip Roth - C, P5, 1996, Every Man for Himself by Beryl Bainbridge - B, W5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W5, 1995, The Ghost Road by Pat Barker - B, W5, 1995, Independence Day by Richard Ford - C, P5, 1995, Sabbath's Theater by Philip Roth - N, P4, 2005, Veronica by Mary Gaitskill - C, N **4, 2005, Arthur and George by Julian Barnes - B, I **4, 2005, A Long, Long Way by Sebastian Barry - B, I **4, 2005, Never Let Me Go by Kazuo Ishiguro - B, C **4, 2005, Shalimar the Clown by Salman Rushdie - I, W **4, 2004, Cloud Atlas by David Mitchell - B, C4, 2003, Brick Lane by Monica Ali - B, C4, 2003, Bitter Fruit by Achmat Dangor - B, I4, 2003, The Good Doctor by Damon Galgut - B, I4, 2003, Evidence of Things Unseen by Marianne Wiggins - N, P4, 2002, Family Matters by Rohinton Mistry - B, I4, 2002, The Story of Lucy Gault by William Trevor - B, W4, 2001, A Fine Balance by Rohinton Mistry - B, I4, 2001, Bel Canto by Ann Patchett - I, N4, 2001, John Henry Days by Colson Whitehead - N, P4, 2001, Oxygen by Andrew Miller - B, W4, 2000, The Keepers of Truth by Michael Collins - B, I4, 2000, When We Were Orphans by Kazuo Ishiguro - B, W4, 2000, Blonde by Joyce Carol Oates - N, P4, 1999, Our Fathers by Andrew O'Hagan - B, I4, 1999, Headlong by Michael Frayn - B, W4, 1999, The Blackwater Lightship by Colm Toibin - B, I4, 1997, Autobiography of My Mother by Jamaica Kincaid - C, I4, 1997, Grace Notes by Bernard MacLaverty - B, W4, 1997, Enduring Love by Ian McEwan - I, W4, 1997, The Puttermesser Papers by Cynthia Ozick - I, N4, 1996, Alias Grace by Margaret Atwood - B, I4, 1995, In Every Face I Meet by Justin Cartwright - B, W

Artistic Refusal

One of the most morally and aesthetically interesting aspects of Werner Herzog's 2005 documentary film Grizzly Man, the enchanting and bizarre tale of Timothy Treadwell's life and death among the grizzlies, is Herzog's decision not to include the existing audio of Timothy Treadwell and Aime Huguenard's deaths. Treadwell and girlfriend Huguenard were eaten by a grizzly bear while living amongst the grizzlies in Alaska in the summer of 2003. Treadwell's video camera (at least its audio function) was on while the two were being attacked and this audio is now in the possession of one of Treadwell's friends. Herzog himself listens to the footage in Grizzly Man, and though viewers cannot hear it, they see Herzog listening to it, and hear him tell the audio's owner that the recording should be destroyed.A strict empiricist would disagree: If we are to understand an event or a life we must examine all of the evidence, however gruesome. But then, artists are not lawyers or scientists, and artistic justice is rather another thing than scientific or legal justice. Herzog's choice not to include the audio recording of these two surely horrific deaths is a question that many artists are confronted with. What aesthetic and ethical effects will the representation of a certain act, particularly something like dismemberment or rape, have on my audience? Will the representation of such acts necessarily invoke responses of arousal or morbid fascination in the viewer? While this might serve the purposes of certain artists intent on impressing upon us as visual consumers our complicity with the rapist, voyeur, or bear, it becomes deeply problematic when the artist does not want us to identify with the assailant.Those who have read J.M. Coetzee's Disgrace will know that the horror of a traumatic event that goes undescribed is not lessened, as will those who have read Samuel Richardson's Clarissa (1748). Sometimes referred to colloquially as "The Rape of Clarissa," Richardson's nearly 1600 page novel does not actually describe Clarissa's rape. It is through Clarissa herself that we get the novel's only approximation of a description of the event and her drug-addled memories are described only vaguely - shadows, a candle, the prostitutes (who, we later learn, held Clarissa down for her rapist). Richardson's choice to refuse description, like Coetzee's, is an ethical choice. It is a choice that absolutely refuses to offer us the possibility of aesthetic engagement with monstrous acts. If literary and other fiction is, as some hold, a means of playing make-believe, of trying on alternate identities, artists who refuse to represent horrific acts tell us something in these refusals. They do not want us to imagine these things, they do not want to provide the means by which we will be implicated in dehumanizing other people (even if these people are only literary characters). Even to write descriptions of such events would be, to whatever degree, to aestheticize them. And to make a rape into an object of aesthetic contemplation, aesthetic pleasure, is a sort of crime.Sofia Coppola's 2006 Marie Antoinette is the most recent example of this phenomenon that I have encountered. Coppola uses artistic refusal in her decision not to represent any social reality beyond Versailles until the very end of the movie, and then, only slightly. Occasionally, a court character mentions unrest among the people, bread shortages, increased taxes, but no physical evidence of it ever invades Louis XVI's court until the film's end, when a crowd of peasants surrounds the palace. In one of the movie's final scenes, Marie Antoinette (Kirsten Dunst) goes out onto a balcony of the palace and we hear below her (and even see the torches, pruning hooks, and scythes - though not the faces - of) the people below her on the ground. The scene astonishes because through it we realize that Marie and Louis had no idea what was happening beyond Versailles - had no idea these people truly existed, much less that they existed in exigency and anger. They have never seen them - they did not physically exist until this moment when it is too late. And we are made, like the monarchs, to have no idea of the anger and suffering of their people (no visual idea at least, though we all know their eventual fate). Is this refusal unethical? Does it mask the suffering of thousands to force upon us sympathy for two thoughtless, pampered fools or does Coppola's demand that we understand the king and queen's ignorance press for an even more scrupulous definition of justice?In "Weighing In," Seamus Heaney invokes "the power/Of power not exercised": Sometimes we say more and say it better by refusing to speak.

Literature and History: A Response

A recent post at Pinky's Paperhaus entitled "The backwards academic," muses critically on the backward-looking focus of the GRE subject exam in English literature, required for applicants to English department Ph.D. programs, and, in Pinky's case, Ph.D. programs in Creative Writing.Having cited the breakdown of the GRE subject exam in English Literature (pasted in below from the post):- Continental, Classical, and Comparative Literature through 1925 - 5-10%- British Literature to 1660 (including Milton) - 25-30%- British Literature 1660-1925 - 25-35%- American Literature through 1925 - 15-25%- American, British, and World Literatures after 1925 - 20-30%Pinky expresses some concerns - both personal and philosophical:To sum this up, 70-80% of the exam focuses on work before 1925. 25-30% of the entire exam will be on BRITISH LIT BEFORE 1600. What concerns me isn't that I can't possibly do well on the test (I can't. I was terrible at recognizing poets from excerpts when I learned them more than a decade ago, and I don't know a caesura from a sestina) but what this focus indicates. The discipline, as it appears through the lens of this exam, is inherently colonial, still trying to prove to big bad monarch daddy that we deserve his love, we do, we really really do, because we can appreciate him and study his dirty bards and his pious poets and his sarcastic essayists and his metaphysical poets and his beowulf, thank you very much, and since we've been so good, may we please have some more moors, please?The essence of Pinky's concern, is the exam's historical focus - What about, she wonders, contemporary fiction, blogs, the effect of the internet on reading? All of these, she suggests, seem the relevant questions - not Milton, sestinas, and Beowulf.I have a few thoughts on these questions, both practically and philosophically speaking, as someone whose taken this exam, and is now entrenched in the academy. Practically speaking, the only way to do well is to spend a few months studying Norton anthologies: No one, even with a freshly minted B.A. in English, is ready for this exam without putting in some time. Also, it's a multiple choice exam: How, realistically, could they ask questions about the amorphous world of the blogosphere (Name the contributors of certain blogs? Pick traits of a blog essay?) or the yet to be determined effects of things like Google Books and Project Gutenberg on reading practices? Exams have genres too and multiple choice exams cannot help us explore abstract and emergent fields.Philosophically speaking, it seems to me that the desire to get a Ph.D. implies a desire for a deep understanding of a field, and a deep understanding means history. If you just want to contemplate the effects of the internet on literature and read contemporary novels, blogging and book-reviewing will certainly suit you. The doctorate in literature (and, I presume, Creative Writing, since faculty in CW do end up teaching literature quite often), for better or for worse, means theory, the history of forms, the evolution of genres, methodical consideration of allusion and borrowing.Someone with an interest in the internet's effects on literature and the rise of the blogosphere might naturally appreciate the 18th century English pioneers of the newspaper and essay (Addison and Steel's The Spectator, for one) and maybe read a little bit of Jurgen Habermas' Structural Transformation of the Public Sphere, which resemble nothing so much as the ultimate fulfillment of quintessentially 18th century ideas about the periodical press as a virtual space for rational debate on subjects of public interest, a space in which all who desired to participate, regardless of class, were allowed. The rise of the periodical press and its role in facilitating writing as a profession for middle-class people was revolutionary - and we're still enjoying it today as we write our blog posts. Again, to read examples of the early "essai" as practiced by Montaigne - coiner of the genre's name - (or by Sir Thomas Browne or Francis Bacon) is to be delighted to discover that the rambling, loose essay format that blogging allows and sometimes seems to encourage is nothing so much as a return to the essay's generic origins. In sum, feelings about how a new technology impacts literature are only broadened by knowledge of literature's history.And a final philosophical point: The best modern and contemporary writers draw from the literature of the past. Joyce and Pound's titanic knowledge of the history of forms, T.S. Eliot's profound reliance on Shakespeare's The Tempest, Antony and Cleopatra and Tourneur's The Revenger's Tragedy in The Waste Land, Virginia Woolf's delightful literary critical essays, and her respectful appreciation of Aphra Behn and Jane Austen in A Room of One's Own for the help they'd inevitably given her as a woman writer. More recently, I offer J.M. Coetzee's Foe as a re-reading of Robinson Crusoe, his Disgrace as a reading of Clarissa (this reading is Blakey Vermeule's), Zadie Smith's On Beauty as a reading of Howard's End. Frank Miller's 300 as a rereading of Herodotus.I am also generally horrified by how little I know, how little my peers know, how little my students know or care about history. And I find myself thinking about the affable but fraudulent academic hero of Don Delillo's White Noise, a professor of Hitler studies who doesn't know German. Shortchanging history when studying literature inevitably leaves a similarly gaping hole.

The British Best of the Last 25 Years

Not wanting to be left out of the fun and controversy generated by the New York Times list of the top books of the last 25 years, the Guardian has rounded up 150 celebrity judges of its own (120 agreed to particpate), like Monica Ali, Rick Moody, and Jonathan Safran Foer, to vote for the best British, Irish or Commonwealth novel from 1980 to 2005. "How they defined 'best' was up to them" is the caveat the Guardian gives us.After the votes were tallied, they bestowed the honor on Booker winner Disgrace by Nobel Laureate J.M Coetzee. Money by Martin Amis was runner up, while Earthly Powers by Anthony Burgess, Atonement by Ian McEwan, The Blue Flower by Penelope Fitzgerald, The Unconsoled by Kazuo Ishiguro, and Midnight's Children by Salman Rushdie all shared third place. Will this list generate as much fevered dicussion as the Times list? I wouldn't be surprised if it did.

The Prizewinners

The list at the end of this post is arbitrary. Necessarily so, because awards, by their nature, are arbitrary. Nonetheless, after a couple of weeks full of awards news, including the inaugural appearance of the Quills, I was curious to see if all these awards are really pointing us towards good books.If we are dissatisfied with the Booker Prize or the National Book Award or the Pulitzer, the Quills, which casts the net very wide and relies on voting from the reading public, have been presented as a populist alternative. The results are less than satisfying. It is not news to anyone that the reading public likes Harry Potter and books by Sue Monk Kidd and Janet Evanovich. I hold nothing against those bestsellers, but naming them the best books of the year does little to satisfy one's yearning to be introduced to the best, to have an encounter with a classic in our own time. We like those bestsellers because they entertain us, but while monetary success is the reward for those entertaining authors, awards have typically honored books with qualities that are more difficult to quantify. These award-winners are supposed to edify and challenge while still managing to entertain. But, as we saw with last year's National Book Awards, readers are unsatisfied when recognition is reserved only for the obscure. We want to know our best authors even while they remain mysterious to us. So, pondering this, I wondered which books have been most recognized by book awards in recent years, and could those books also be fairly called the best books.It turned out to be a challenge. I wanted to include both American books and British books, as well as the English-language books from other countries that are eligible to win some of these awards. I started with the National Book Award and the Pulitzer from the American side and the Booker and Whitbread from the British side. Because I wanted the British books to "compete" with the American books, I also looked at a couple of awards that recognize books from both sides of the ocean, the National Book Critics Circle Awards and the International IMPAC Dublin Literary Award. The IMPAC is probably the weakest of all these, but since it is both more international and more populist than the other awards, I thought it added something. The glaring omission is the PEN/Faulkner, but it would have skewed everything too much in favor of the American books, so I left it out.I looked at these six awards from 1995 to the present awarding three points for winning an award and two points for an appearance on a shortlist or as a finalist. Here's the key that goes with the list: B=Booker Prize, C=National Book Critics Circle Award, I=International IMPAC Dublin Literary Award, N=National Book Award, P=Pulitzer Prize, W=Whitbread Book Award, bold=winner11, 2003, The Known World by Edward P. Jones - C, I, N, P9, 2001, The Corrections by Jonathan Franzen - C, I, N, P8, 1997, Underworld by Don DeLillio - C, I, N, P7, 2004, Line of Beauty by Alan Hollinghurst - B, C, W7, 2002, Middlesex by Jeffrey Eugenides - I, N, P7, 2001, Atonement by Ian McEwan - B, N, W7, 1998, The Hours by Michael Cunningham - C, I, P7, 1997, Last Orders by Graham Swift - B, I, W7, 1997, Quarantine by Jim Crace - B, I, W6, 2004, Gilead by Marilynn Robinson - N, P5, 2003, The Great Fire by Shirley Hazzard - I, N5, 2001, True History of the Kelly Gang by Peter Carey - B, I5, 2000, The Amazing Adventures of Kavalier and Clay by Michael Chabon - C, P5, 2000, The Blind Assassin by Margaret Atwood - B, I5, 1999, Waiting by Ha Jin - N, P5, 1999, Disgrace by J.M. Coetzee - B, C5, 1999, Being Dead by Jim Crace - C, W5, 1998, Charming Billy by Alice McDermott - I, N5, 1997, American Pastoral by Philip Roth - C, P5, 1996, Every Man for Himself by Beryl Bainbridge - B, W5, 1996, Martin Dressler: The Tale of an American Dreamer by Steven Millhauser - N, P5, 1995, The Moor's Last Sigh by Salman Rushdie - B, W5, 1995, The Ghost Road by Pat Barker - B, W5, 1995, Independence Day by Richard Ford - C, P5, 1995, Sabbath's Theater by Philip Roth - N, P4, 2004, Cloud Atlas by David Mitchell - B, C4, 2003, Brick Lane by Monica Ali - B, C4, 2003, Bitter Fruit by Achmat Dangor - B, I4, 2003, The Good Doctor by Damon Galgut - B, I4, 2003, Evidence of Things Unseen by Marianne Wiggins - N, P4, 2002, Family Matters by Rohinton Mistry - B, I4, 2002, The Story of Lucy Gault by William Trevor - B, W4, 2001, A Fine Balance by Rohinton Mistry - B, I4, 2001, Bel Canto by Ann Patchett - I, N4, 2001, John Henry Days by Colson Whitehead - N, P4, 2001, Oxygen by Andrew Miller - B, W4, 2000, The Keepers of Truth by Michael Collins - B, I4, 2000, When We Were Orphans by Kazuo Ishiguro - B, W4, 2000, Blonde by Joyce Carol Oates - N, P4, 1999, Our Fathers by Andrew O'Hagan - B, I4, 1999, Headlong by Michael Frayn - B, W4, 1999, The Blackwater Lightship by Colm Toibin - B, I4, 1997, Autobiography of My Mother by Jamaica Kincaid - C, I4, 1997, Grace Notes by Bernard MacLaverty - B, W4, 1997, Enduring Love by Ian McEwan - I, W4, 1997, The Puttermesser Papers by Cynthia Ozick - I, N4, 1996, Alias Grace by Margaret Atwood - B, I4, 1995, In Every Face I Meet by Justin Cartwright - B, WI find the list to be fairly satisfying, especially at the top, though it does skew in favor of men. There are also a preponderance of "big name" literary authors on this list, but it begs the question: Does the fame come first or do the awards? I'd love to hear other opinions on this list, so please, share your comments.See Also: Award Annals compiles similar lists (though much more comprehensive than this one.)

Two Bests from the Left Coast

Brian from Los Angeles, one of the most prolific readers I have ever known, sent along his to favorites for 2004 (as we continue The Millions End of Year Extravaganza)Non-Fiction: The Fall Of Baghdad (excerpt) -- It is to our great benefit that Jon Lee Anderson was one of the very few journalists to remain in Baghdad throughout (and after) the attack. Anderson remains (mostly) apolitical, to record, with ferocious accuracy and color, what he saw, heard, smelt and felt throughout those turbulent weeks. All those self-important and partisan-hack talking heads and politicians who profess to know what's best for iraq and america are infants next to Anderson. Fiction: Elizabeth Costello (excerpt) - J.M. Coetzee is primarily known for one of his weaker books (Disgrace") as opposed to one of his masterpieces (Waiting for the Barbarians, Life and Times of Michael K) -- Elizabeth Costello falls somewhere in between. And, Coetzee knows this, even seems to integrate this into the book itself. Elizabeth Costello perfectly captures, through a series of an old woman's digressions and lectures, the confusion inherent in existence. Proceeding through life with the knowledge that all information has a flip side, that every belief has a counter-belief, that everything one does is both super-charged with meaning and also meaningless, one must... proceed. As does Elizabeth Costello (and Coetzee). A book that intentionally wallows in human fallibility, confusion, flawed logic, and shortcomings, but elevated way beyond most 'perfect works' -- Coetzee is one of our best contemporary prose stylists, novelists, and essayists.--and a shout-out to the new centennial edition Graham Greenes with cooler covers than the Penguin editions and introductions by the likes of Coetzee, Christopher Hitchens, etc... The Heart Of The Matter and The End Of The Affair must be read by all! Look for more great end of year reviews as the Extravaganza continues.

Edith Grossman Tilting at Windmills

Edith Grossman has lately become the definitive translator when it comes to Spanish-language fiction. She is responsible for producing the English-language editions of the work of Gabriel Garcia Marquez (including his upcoming autobiography, Living to Tell the Tale), Mario Vargas Llosa (most recently The Feast of the Goat), and of course she brought The Adventures and Misadventures of Maqroll by Alvaro Mutis to American readers. Now, for the first time, she turns her translator's pen to a classic. Her beautiful edition of Cervantes' Don Quixote has just been put out by Ecco, and, having never read the book, I will be delighted to turn my attention to this new edition soon.New CoetzeeMy friend and trusted fellow reader Brian informed me that he has read recently lauded author, J. M. Coetzee's new novel Elizabeth Costello, and that he found it quite good and thought-provoking (better than Disgrace, anyway, which is his point of reference for Coetzee). So I was mildly surprised when I saw that the book received an unflattering and somewhat dismissive capsule review in last week's New Yorker. The New York Times Book Review, however, confirms Brian's assessment of a dense and philosophical, yet readable book.Amazon's Mega SearchLast week Amazon announced their mind-boggling new search feature, which allows users to search the complete text of tens of thousands of new books. Talking to readers and checking out the buzz on the internet, I encountered a wide range of reactions to this new development, ranging from anger at Amazon's ever-widening reach and annoyance at the plethora of extraneous results when searching for book titles or authors to exultation at this vast resource that has suddenly appeared at our fingertips. Meanwhile, the New York Times covers authors' concerns. Any thoughts, press the comment button below and let us know.

A New Nobel Laureate

The South African J. M. Coetzee was awarded the Nobel Prize for Literature today. This prize seems to be given alternately to the obscure or the internationally known. Coetzee most assuredly falls in the latter category, and his receiving this award comes as no surprise. He has won the Booker Prize twice, an unprecedented feat, as well as countless other major and minor awards, and long ago passed from the realm of "author" into the realm of "master." The Nobel Prize seems to surpass all other prizes in inducing people to read, and rightly so. It is as close as the literary world comes to "officially" admitting a writer into the canon of world literature from which he or she can never be removed or forgotten. So, if you are among the many who decide to read or reread Coetzee in the coming days or weeks, allow me to suggest two books, first his breakthrough novel and arguably his best, Waiting for the Barbarians, and then the second of his two Booker Prize winning efforts, Disgrace. If you want to learn more about Coetzee check out the "bio-bibliography" provided on the Nobel Site.Beyond FreaksDiane Arbus has long been considered among the greatest photographers of all time. Her work is a staple of art museum collections throughout the world. Arbus (who committed suicide in 1971) was best known for her unnerving photographs of circus freaks, street performers, and other "outsiders" dwelling on society's margins. Though she focused on the margins, she also illuminated just how blurry these margins can be. Sometimes we can feel like outsiders in our own homes or in our own families. The two new Arbus books that have come out recently help to illuminate this aspect of her work. Neither book focuses on her circus and sideshow work, yet each book retains the visceral power that her "freak" photography is known for. The first is a collection of previously unpublished photographs called Diane Arbus: Family Albums, which is devoted to family portraits she took over the years. Some were commissioned and others were not, but they all retain that powerful quality of dread that her photographs seem to take on. The other book is an impressively thorough volume put out by Random House that amounts to a biography as well as a retrospective of her work. It is one of the most extensive collections of her photography ever put into book form.Shout OutsGarth, a friend and trusted fellow reader, has weighed in on The Fortress of Solitude. After finishing the book, I eagerly waited for Garth to read it so that I could hear his opinion. It was worth the wait. I also want to give a shout out to Jeff Mallett creator of Frazz who I am told is a fan of the site. This also gives me the opportunity to tell all of you that I always have been and always will be a newspaper funnies junkie.
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