Among the most obnoxious things one person can ask of another is to “tell me something true about yourself.” Such a banal and breezily intrusive request drastically misunderstands the nature of self-disclosure; it calls for a sort of intimacy on demand, a statement of biographical fact that is expected to reveal, by mysterious inference, the truth about a life. It’s also a question that is close to impossible to answer. What kind of person is capable of talking about themselves in the form of facts? If you’re looking for a way to ruin a perfectly good first date, do the following: lean forward in your chair and, gazing urgently across the dinner table into the eyes of the near-perfect stranger sitting opposite, ask them to tell you something true about themselves. (“Dessert menu? No thanks, just the bill, please.”) Reading Autoportrait, I found myself thinking of it as a fiendishly appropriate response to just such a question, as the logical comeuppance of a request for personal truth. The book (one paragraph spanning 112 pages) consists of one declarative sentence after another, each of which reveals some new fact about its author, the late French writer and conceptual photographer Edouard Levé. Here’s a sample, selected more or less at random: The higher the floor number, the better I feel. Sometimes I realize that what I’m in the middle of saying is boring, so I just stop talking. I used to think I worked better at night than in daytime until one day I bought black curtains. I use the shell of the first mussel to spoon out the rest. I can do without TV. It might sound like a paradox, or a graceless provocation, to say that the book -- which goes on like this (and on, and on) -- is both conventionally unreadable and almost tyrannically compelling. But that is what it is. It’s “unreadable” in the way that any succession of sentences that refuses to cohere into a composite substance (a narrative, say, or an argument) is, by normal standards, unreadable. The vast majority of these statements do not acknowledge the presence of those on either side of them. You read from left to right, from top to bottom of each page, but Autoportrait doesn’t really reward this approach over any other. You could read it from last page to first and have a similar kind of experience with it. You could even read it from last sentence to first and still come out knowing as much about the author as you would from a conventionally oriented approach (whereas you wouldn’t get quite the same picture of, say, Nabokov or St. Augustine from a backwards reading of Speak, Memory or The Confessions as you would from a forwards one). It’s compelling not just because its formal technique is so radical, but because its thorough abdication of all narrative responsibility -- the obligation for one’s statements to stand in some type of logically sequential relationship to each other -- leads to a peculiar, and contradictory, expectancy in the reading experience. It’s possible, in other words, that the book is compelling precisely because it’s unreadable in the conventional sense. (Even if being both French and deceased didn't disqualify Levé from being shortlisted for the Booker Prize, it would still be unthinkable anyway.) This has a lot to do with the tension between a relentless control at the level of form and what seems to be randomness at the level of content, a tension which amounts to a sort of fastidious chaos. You know what type of sentence the next one is going to be (it’s going to be a first-person statement of some fact about the author), but you don’t have any idea what it might be likely to reveal. Writers rarely get away with such chilly denial of narrative pleasure while still managing to keep readers turning the page. It helps that Levé intermittently catches you off guard by being plain old funny: “My father walked in on me making love to a woman, when he knocked I said without thinking, ‘Come in,’ blushing, he quickly backed out and closed the door, when my girlfriend tried to slip away, he went up to her and said, ‘Come back whenever you like, mademoiselle.’” This is a very short book, so it’s possible -- and perhaps advisable -- to read it in one sitting. I did take a few quick breaks in between bouts, though, as much to clear my head as anything else. And these time-outs have an interesting effect: when you come back to the book, your instinctual expectations for a piece of writing to build toward a narrative are briefly reinstated, and the strangeness of its not doing so is reinforced. Oh right, you think, he’s still at it, still just stating a succession of facts about himself (“I do not judge a country by the quality of its TV […] I have nothing to say about cisterns. I find winks unsettling.”) As obviously avant garde as Levé’s approach to the autobiographical project is, it’s rigorously grounded in experience. He is presenting himself on the page without recourse to exploration or extrapolation, without the intercession of intellect or imagination. The aggregate effect of this is to portray the mystery of subjectivity -- the strange impenetrability of the experience of personhood -- in a more direct and unmediated way than a more conventional narrative memoir could ever achieve. In this sense Autoportait is a work of extreme and uncompromising realism; it refuses to grant any credence to what Levé once described in an interview as the “fiction of identity.” It’s a sort of post-humanist version of self-exploration, as though Montaigne, in attempting to answer his famous question “What do I know?,” had run it through an algorithm instead of writing his Essais. At the risk of being glib, Levé’s literary self-portrait stands in a similar kind of relation to Montaigne’s as the music of, say, Autechre does to that of Bach. Autoportrait is at its most provocative when it hints at the more conventional work of “life writing” it might have been in the hands of a less formally wayward author. He gives us brief accounts of two incidents that must have had a profound impact on his development, and out of which many memoirists would spin entire books much longer than this one. Out of nowhere (everything is out of nowhere in this book) he tells us about what he used to get up to as a child while playing house with a female cousin: There were variants, it could be doctor (formal inspection of genitals), or thug and bourgeoisie (mini rape scene). When we played thug and bourgeoisie, my cousin would walk past the swing set where I’d be sitting, outside our family’s house, I would call out to her in a menacing tone of voice, she wouldn’t answer but would act afraid, she would start to run away, I would catch her and drag her into the little pool house, I would bolt the door, I’d pull the curtains, she would try vaguely to get away, I would undress her and simulate the sexual act while she cried out in either horror or pleasure, I could never tell which it was supposed to be, I forget how it used to end. That’s it-- two profoundly shocking and revelatory sentences near the end of the book, and then we’re back to the stochastic sequence of announcements, of plain assertions of things that happen to be the case (“To ease my backache after I’ve been driving a long way, I lie down on a hard floor, arms crossed, legs slightly raised”). Some pages later, Levé tells us about the time he witnessed a 10-year-old boy being masturbated by a counselor on a school skiing trip. Because he doesn’t do elaboration, you have to go pottering around de hors-texte, in the Derridean nothing, to find that the Parisian Catholic school he attended, Collège Stanislas (alma mater of one Jacques Lacan), was at the centre of a national paedophile scandal while he was a student there. You won’t get this information from Levé, and you certainly won’t get his feelings on the matter, at least not in any straightforward way. What you do get, right after this powerful revelation, is the following: “When I read psychiatric manuals, I often find that I have one symptom of the illnesses they describe, sometimes more than one, sometimes every symptom. I do not write in order to give pleasure to those who read me, but I would not be displeased if that is what they felt.” (In the margin beside this last one, I facetiously jotted “Thanks, appreciate it”, imagining Levé nodding and muttering a dry “de rien” before proceeding briskly to his next assertion.) This is an obsessive work, a text that seems to present itself as a machine for the generation of truth. One of its more striking aspects, though, is the way in which its apparent designs on the absolute -- its gestures toward the idea of saying everything there is to be said with certainty about oneself -- underscore its hopeless incompletion. The more Levé says, the more facts he sets down, the more you realize he hasn’t said. So alright, he finds silence on the phone embarrassing. And he has an easier time picking out American states on a map than African countries. And he shaves with an electric razor rather than a blade because of his sensitive skin. Fair enough, you think, all well and good. But does he use a Mac or a PC? Has he ever been in a fist fight? For whom, if anyone, did he vote in the French municipal elections in 2001? Does he brush his teeth in the shower to save time? (And would he have been inclined to agree, had he not committed suicide before it was published, that Padgett Powell’s The Interrogative Mood, which consists entirely of questions directed at the reader, might make an interesting companion piece to Autoportrait?) What remains, after 112 pages of statements, is an unnerving bewilderment, a haunting sense of having been spoken to at length by an absence. We have had any number of facts revealed to us, but we are left with nothing in the way of truth; we know nothing much about the person who has told us so many things about himself. As Levé himself puts it in the sole sentence that takes the form of a question, “Everything I write is true, but so what?” I don’t think this is intended as a rhetorical question, or a slow Gallic shrug. It’s the philosophical core of the project itself, the source of the book’s torrent of assertions, and the question that lingers after that torrent has ceased. If we take Levé at his word (and there’s no reason why we shouldn’t), every sentence in this book is true, but what does all this truth add up to? Like Suicide, the extraordinary book Levé completed just days before he took his own life in 2007 (and which I wrote about here last year), Autoportrait is an oblique and stylized attempt to address a void of meaning. It is what a self-portrait looks like when there is nothing like a self there to portray; it’s an autobiography written by the cold, dead hand of the post-Barthesian author. Levé’s obsessively inward gaze finally yields only the haunting outline of his own absence. But he captures that absence, and the gaze itself, with a chilling precision.
The late American philosopher Robert Nozick begins his tome, Philosophical Explanations, with this paragraph: I, too, seek an unreadable book: urgent thoughts to grapple with in agitation and excitement, revelations to be transformed by or to transform, a book incapable of being read straight through, a book even to bring reading to a stop. I have not found that book, or attempted it. Still, I wrote and thought in awareness of it, in the hope this book would bask in its light. That hope would be arrogant if it weren’t self-fulfilling--to face towards the light, even from a great distance, is to be warmed I first read that opening paragraph in 1981 when Philosophical Explanations was published. Thirty years later and I have still not completed Nozick’s 650 page “essay.” Despite his protestations, Nozick did perhaps accomplish that self-fulfilling hope of which he speaks. Perhaps he did write the unreadable book, though I seriously doubt it. This reader is not throwing in the towel just yet. The book is still on my side table and every so often the bookmark gets lifted out of the cramped dusty seam on the left side of a page and removed to the cramped dusty seam on the right side of the page. I call that progress. I was thinking about this today as I was flying home from my daughter’s graduation. I do my best thinking on airplanes. It is ironic--and probably of consequence--that I now avoid air travel as best I’m able. I am obviously missing a great deal of good thinking as a result. When I do fly, I keep my Moleskine handy because I’m smart enough to know that I’m only smart enough on a plane--and I don’t want to miss anything. (The great Bruce Chatwin was a Moleskine user. When I became aware of this fact fifteen years ago I was in London and searched high and low for a shop(pe) that carried it, figuring that if it was good enough for Chatwin, it would certainly be good enough for me. But alas, the Moleskine was no more--defunct, kaput. What a success story, up from the ashes, phoenix-like, the Moleskine is now the Kleenex of journals.) As I was saying, I was thinking of Nozick and this passage today. Specifically, I was contemplating this after investing a year, June to June, reading and reviewing books for a literary blog. The year began with Roberto Bolaño’s 2666 and ended with David Foster Wallace’s Infinite Jest, maybe the two best book-ended modern examples of what Nozick sought, the unreadable book. But Nozick was super smart and I’m sure if I made my way through these books, he would have done so with just a modicum of the energies I mustered. No, they are not unreadable books. I read Bolaño and Wallace, along with 27 other books during these twelve months. And I wrote a review of each one. A person can learn something exercising such discipline. I determined today, five-hundred fifty miles an hour, 30,000 feet up, I needed to explore what I’d learned. So, walk with me, if you so desire, while I try to figure that out. First, the reading list June, 2009 to June, 2010: 2666 by Roberto Bolaño Shadow Country by Peter Matthiessen Snakeskin Road by James Braziel Self’s Murder by Bernhard Schlink Heroic Measures by Jill Ciment Jeff in Venice, Death in Varanasi by Geoff Dyer An Underachiever’s Diary by Benjamin Anastas Homer and Langley by E.L. Doctorow Under This Unbroken Sky by Shandi Mitchell Last Night in Twisted River by John Irving This is Water by David Foster Wallace The Boy Next Door by Irene Sabatini Inherent Vice by Thomas Pynchon After The Fire, A Still Small Voice by Evie Wyld Supreme Courtship by Christopher Buckley Johnny Future by Steve Abee The Convalescent by Jessica Anthony Manhood for Amateurs by Michael Chabon Noah’s Compass by Anne Tyler Olive Kitteridge by Elizabeth Strout The Interrogative Mood by Padgett Powell Zen and Now by Mark Richardson The Truth About Love by Josephine Hart The Infinities by John Banville The Last Station by Jay Parini The Shell Collector by Anthony Doerr What Becomes by A.L. Kennedy Infinite Jest by David Foster Wallace There is quite a mix here, from the aforementioned Bolaño to Wallace and everything in between. There are serious books on the list. Olive Kitteridge won the Pulitzer, for example. And Padgett Powell, John Banville and Peter Matthiessen rank high on the serious meter of contemporary fiction. Pynchon, Tyler, Doctorow and Irving are literary names of distinction and note. Fresher names like Chabon and Hart, Doerr and Kennedy were unknown to me and I was powerfully impressed by what they can do, putting pen to paper, as it used to be called. Buckley is a hoot and Parini an education. What I’m trying to get at here, is the general across-the-board nature of these readings. No specialist here, I read with the modest distinction of the simply curious. There is a little something for everyone on this list and that affords me the latitude to speak generally about the experience. I am a reader first. If I were an addict, I would get high and while high, presumably, worry about where I was to get my next fix. Reading is not all that different, I think. As a reader, I am always looking over the binding thinking about the next read, in some instances, longing for it. Some books, like some highs, are better than others. But even with not-so-good books--and there where two this past year I did not see to completion--I will come back to the drug, seeking the next high. I will always be a reader. Of this I am certain. A few years ago I did a project on the homeless in Baltimore. I spent a year talking to, interviewing and photographing men living on the streets of the nation’s ninth largest city. Ultimately, I called the project, One Hundred Gentlemen of Baltimore. Of the 100 men I worked with, there was one in particular, Lonnie, who stood out. Lonnie lived in the bushes behind the Barnes and Noble bookstore in Baltimore’s Inner Harbor. This was not a random location, for Lonnie was a reader. “Reading is my drug of choice,” he told me. “It changes your mind and it’s legal.” That’s why he chose to camp behind the B&N. They tossed books into the dumpster and he would dumpster dive at night and come up with armfuls of new reads. “The life-style [of homelessness] is addictive,” he said. “I have no responsibilities, no bills, no commitments. It’s the life I’ve chosen. It gives me the time to do what I want. My thing is books.” This is an extreme case of being a reader, of giving the discipline--for being a serious reader is, indeed, a discipline--one’s entire heart and soul. It is said that Erasmus bought books first then, with whatever money was left, would buy food. Erasmus would understand Lonnie, I am sure. I cannot claim such heroics. Early in my marriage, before we had money that could in any fashion be considered discretionary, I bought books and snuck them into the house. I didn’t hide booze or drugs, I hid books. I should not have spent the little money we had that way. But it simply could not be avoided. The books listed above were all given to me by the publishers. I gave up not a penny, which sort of gets me back to balance from the early days. One knows he has arrived when he gets his books for free. This year, the year I’m currently in, I’m reading selections of my own choosing. Some are old books, some I’m reading for the second time. There is a lot of biography on the list. After a year of reading mostly fiction I have a hankering for being grounded in time and space. It will be a study of a different sort, equally rewarding, I hope. Last year, I chose a few of the books I reviewed, but many were suggestions by my editor, not assignments in the strict sense, just books suggested because of my literary interests. In the main, they were all reading adventures, set upon without map or compass. That is to say, I read without much knowledge of book or, in some cases, author. It’s sort of like a blind tasting of reading, an idea I find compelling. The reading experience is different when a review is due. One pays attention, takes notes, attempts to understand the chronology, the narrative, taking nothing for granted; glossing over is a no-no, as is basic laziness. The reviewer can’t be given completely to the story, but must maintain an objective perspective. It is different from the untethered reading experience. But these are practices which, I believe, reward all types of reading and are good to exercise in general. I got in the habit a few years ago of always having a pencil in my hand while I read. It was a prop mainly, just a device to remind me to pay attention--sort of like having a camera in your hands when out on the town. There were a couple books, however, where I said, Screw That and gave myself the experience. 2666 was a book which fell into this category. Some things in life you must just simply give in to. I don’t regret my weakness. When someone finds out you review books, they will ask for recommendations, so the thoughtful reader-reviewer must be thinking about appeal and accessibility should this happen. For instance, a friend recently read David Foster Wallace’s This is Water. She loved it. I loved it. It is a pure gem, but is deceptive, leading the first-time Wallace reader to believe he writes everything like This is Water, which is concise and pithy. She asked me if she should next read Infinite Jest. I hedged. I didn’t know her well enough to know if she was the reader for IJ. Wallace once said that the reader wants to be reminded of how smart he or she is. I can understand that. He didn’t, however, worry should the reader not feel smart, or worse, feel stupid. We all know that feeling, no? I loaned her my copy and told her to give it a once over to see if it appealed to her. She was going on a trip and decided that carrying a three pound book didn’t make much sense. Things work out in odd ways sometimes. Nabokov, as close a reader as “close reading” ever produced, commented somewhere that a book is well written if it makes the hairs on the back of your neck stand up. That, I think, is as good a measure of the literary experience as I can think of. I read some books last year where I would pause and quietly declare, yes! The gooseflesh crawled. The hairs stood at attention. I’m not a golfer, but I think it--the reader’s yes! sensation--is a sensation somewhat akin to the clear-knock sound of a well hit ball. It’s what keeps you coming back again and again. Susan Sontag said something that strikes close to home for me. She said that literature “enlarges your sense of human possibility, of what human nature is, of what happens in the world. It’s a creator of inwardness.” One might deduce from this that literature, or the broader artistic experience, is a manner of completing ourselves. Not to sound too high-minded, but I seek the experience where art and my life combine and the distinction between the two erodes. That is why I read. I hope for the experience of which Sontag spoke: the creation of inwardness. Perhaps to some degree I fear myself lacking and wish for more. Again, we all must sometimes carry that weight. Might that be the impetus for all human striving and art?--but that is a different conversation. In my reading, I was alert for Nabokovian hair-raising art. I found it more times than I would have hoped, which encourages me. Consider this sentence, for example, from John Banville’s The Infinities: “Time too is a difficulty. For her it has two modes. Either it drags itself painfully along like something dragging itself in its own slime over bits of twigs and dead leaves on a forest floor, or it speeds past, in jumps and flickers, like the scenes on a spool of film clattering madly through a broken projector.” I find that to be a surprisingly lovely metaphor. Or, this pithy gem from Anne Tyler: “She collected and polished resentments as if it were some sort of hobby.” Wonderful. And then there was the time while reading 2666 that I realized I was three pages into one single sentence, a Nile-like flowing stream of words, words like water pouring over polished granite. It was beautiful and I was in awe. It is not just about the prose, though that is something important and inescapable. I can better stomach a poorly constructed story, the brick and mortar of which, the prose, is well mixed than other way around. The fact is, if the author knows how to mix mortar, she is likely good at construction too. Going back to golf, if you can smash it down the fairway, you’d better have a good short game once you get on the green. It’s been my experience that if a writer can put together words in an appealing fashion, she can also string together a story of those appealing words. It rarely works the other way around. Hemingway said that you knew a book was good if you were sad that it came to an end. I wager, given the opportunity, you can say the same thing about life. To me that is the point. Reading is an extension, a way of putting out feelers like a spider plant seeking new soil. It is the manner in which we, to Sontag’s point, create inwardness. Unfortunately, this didn’t happen enough in this reader’s year. Too often I grew tired and wanted it over. By Hemingway’s measure, when this occurred, these books weren’t good. But I don’t think it was the book’s fault necessarily. It was more likely an impatient reader champing at the bit. That is a problem I have. I am learning to savor as best I can. Reading Infinite Jest was a good exercise at savoring. I read only ten pages a day. Ten pages a day for a book 1038 pages long. Do the math. I have moved to Maine from out of state and my library is following me slowly, volume by volume. I didn’t have to move all at once so have taken pains and culled through my library. My plan has been to bring along with me only those books I wish to keep. My library consists largely of books read. But there is a surprising number of books purchased and shelved for a future read. This process of moving and reviewing my library has afforded me this knowledge: There is nothing so profound as an unread library. I don’t think many people understand that. They don’t recognize the potential for inward creation inherent in the unread library. It is, as I said, profound, and speaks to the suggestion that we all think better of ourselves than we’ve yet to realize. A writer cannot help but read a good book and be envious. A reader cannot help but read a good book. Period. Read on.
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for June. This Month Last Month Title On List 1. 1. Reality Hunger 5 months 2. 5. Stoner 6 months 3. 8. Tinkers 2 months 4. 6. The Big Short 4 months 5. (tie) - The Thousand Autumns of Jacob de Zoet 1 month 5. (tie) - The Girl Who Kicked the Hornet's Nest 1 month 7. 10. Wolf Hall 6 months 8. 9. War and Peace 3 months 9. - The Girl Who Played With Fire 1 month 10. - Out of Sheer Rage: Wrestling With D.H. Lawrence 1 month With four books -- The Death of Ivan Ilych and Other Stories, The Mystery Guest, Let the Great World Spin, and The Interrogative Mood? -- graduating to our Hall of Fame, we have plenty of room for newcomers on our latest list. The late Stieg Larsson, whose The Girl with the Dragon Tattoo is already in our Hall of Fame, has the rest of his trilogy make the list, The Girl Who Played With Fire and the recently released The Girl Who Kicked the Hornet's Nest. Meanwhile, David Mitchell's new novel, The Thousand Autumns of Jacob de Zoet, which was released only a few days ago, debuts tied at number five, and Geoff Dyer's 1998 bio of D.H. Lawrence, Out of Sheer Rage, which was recently championed by David Shields in these pages, debuts in the last spot on the list. And it's Shields' controversial Reality Hunger that's still holding on to our top spot. Near Misses: Twilight of the Superheroes, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, The Known World, Then We Came to the End, The Imperfectionists See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for May. This Month Last Month Title On List 1. 3. Reality Hunger 4 months 2. 2. The Death of Ivan Ilyich and Other Stories 6 months 3. 4. Let the Great World Spin 6 months 4. 5. The Mystery Guest 6 months 5. 6. Stoner 5 months 6. 8. The Big Short 3 months 7. 9. The Interrogative Mood 6 months 8. - Tinkers 1 month 9. 10. War and Peace 2 months 10. 7. Wolf Hall 5 months This month, David Shields' controversial Reality Hunger slips into the top spot. Shields recently offered an energetic defense of the book and an accompanying reading list. Graduating to our Hall of Fame this month is Jonathan Franzen's The Corrections, which appeared at the top of our panel's list and number eight on our readers' list in our "Best of the Millennium (So Far)" series last year. We've been learning more about Franzen's next novel, Freedom, out later this year. Our only debut this month is the surprise Pulitzer winner and small press hero, Tinkers by Paul Harding. Near Misses: The Girl Who Kicked the Hornet's Nest, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, The Known World, Twilight of the Superheroes, Then We Came to the End See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for April. This Month Last Month Title On List 1. 1. The Corrections 6 months 3. 3. The Death of Ivan Ilyich and Other Stories 5 months 3. 2. Reality Hunger 3 months 4. 4. Let the Great World Spin 5 months 5. 10. The Mystery Guest 5 months 6. 9. Stoner 4 months 7. 6. Wolf Hall 4 months 8. 5. The Big Short 2 months 9. 7. The Interrogative Mood 5 months 10. - War and Peace 1 month Graduating to our Hall of Fame this month is W.G. Sebald's Austerlitz, which appeared on both our panel's list and our readers list in our "Best of the Millennium (So Far)" series last year. Our panel's winner in the same series, Jonathan Franzen's The Corrections, stays in the top spot. We've been looking forward to Franzen's next novel, Freedom, out later this year. Our only debut this month is a classic. Leo Tolstoy's War and Peace landed on lots of reading lists after we published Kevin's thoughtful meditation on the book and what it means to be affected by great art. Near Misses: Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, Asterios Polyp, The Known World, Tinkers, Solar, Twilight of the Superheroes See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for March. This Month Last Month Title On List 1. 2. The Corrections 5 months 2. 5. Reality Hunger 2 months 3. 10. The Death of Ivan Ilyich and Other Stories 4 months 4. 6. Let the Great World Spin 4 months 5. - The Big Short 1 month 6. 9. Wolf Hall 3 months 7. 3. The Interrogative Mood 4 months 8. 4. Austerlitz 6 months 9. 7. Stoner 3 months 10. 8. The Mystery Guest 4 months Graduating to our Hall of Fame this month is David Mitchell's Cloud Atlas, which was the readers' favorite in our "Best of the Millennium (So Far)" series last year. That allows our panel's winner in the same series, Jonathan Franzen's The Corrections, to take over the top spot. Of late, readers have begun looking forward to Franzen's next novel, Freedom, out later this year. Our only debut this month is Michael Lewis' look at the financial crisis of the last two years, The Big Short. Of the hundreds of books on the topic, Lewis' was one of the most widely anticipated, both because of his long history writing about Wall Street’s excesses and because of the powerful essay he penned on the topic for Portfolio magazine at the height of the crisis. Near Misses: Asterios Polyp, The Known World, War and Peace, Then We Came to the End, Union Atlantic See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for February. This Month Last Month Title On List 1. 1. Cloud Atlas 6 months 2. 2. The Corrections 4 months 3. 4. The Interrogative Mood 3 month 4. 3. Austerlitz 5 months 5. - Reality Hunger 1 month 6. 6. Let the Great World Spin 3 months 7. 8. Stoner 2 months 8. 5. The Mystery Guest 3 months 9. 10. Wolf Hall 2 month 10. 7. The Death of Ivan Ilyich and Other Stories 2 months New to the Top Ten list this month is Reality Hunger, a book by David Shields.. We had an early look at the book, a two-part interview with Shields, and Shields' shared his Year in Reading in December. Dropping from the list is Asterios Polyp by David Mazzucchelli. Meanwhile, David Mitchell's Cloud Atlas and Jonathan Franzen's The Corrections stayed atop the list, but that top spot will open up next month as Cloud Atlas is poised to join the Hall of Fame. See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for January. This Month Last Month Title On List 1. 1. Cloud Atlas 5 months 2. 4. The Corrections 3 months 3. 3. Austerlitz 4 months 4. 2. The Interrogative Mood 2 months 5. 9. (tie) The Mystery Guest 2 months 6. 5. Let the Great World Spin 2 months 7. 8. The Death of Ivan Ilyich and Other Stories 2 months 8. - Stoner 1 month 9. 9. (tie) Asterios Polyp 5 months 10. - Wolf Hall 1 month January saw two more books graduate to The Millions Hall of Fame, The Girl with the Dragon Tattoo by Stieg Larsson and Zeitoun by Dave Eggers. Larsson's books have been the beneficiary of a surge of interest in the late Swedish writer's series of thrillers. Eggers' Zeitoun has won much praise for its nuanced look at one immigrant New Orleanian's Katrina story. New to the Top Ten list this month is Stoner, a book by John Williams from NYRB Classics. The novel was singled out for praise as part of our Year in Reading series by Millions contributors Patrick and Edan as well as by Conversational Reading's Scott Esposito. Also debuting is Booker Prize winner Wolf Hall by Hilary Mantel. The book was also named a finalist recently for a National Book Crtics Circle Award. See Also: Last month's list
We spend plenty of time here on The Millions telling all of you what we’ve been reading, but we are also quite interested in hearing about what you’ve been reading. By looking at our Amazon stats, we can see what books Millions readers have been buying, and we decided it would be fun to use those stats to find out what books have been most popular with our readers in recent months. Below you’ll find our Millions Top Ten list for December. This Month Last Month Title On List 1. 3. Cloud Atlas 4 months 2. - The Interrogative Mood 1 month 3. 7. Austerlitz 3 months 4. 5. (tie) The Corrections 2 months 5. - Let the Great World Spin 1 month 6. 4. The Girl with the Dragon Tattoo 6 months 7. 1. Zeitoun 6 months 8. - The Death of Ivan Ilyich and Other Stories 1 month 9. (tie) 7. (tie) Asterios Polyp 4 months 9. (tie) - The Mystery Guest 1 month December saw a flurry of activity as four books made their first appearances on the list. Padgett Powell's The Interrogative Mood, endorsed by both Jonathan Lethem and Rick Moody, caught readers' interest. Colum McCann's Let the Great World Spin has been building momentum since its National Book Award win. I also reviewed it here and last month, Reif Larsen wrote glowingly of the book. Our recent interview with superstar translators Richard Pevear and Larissa Volokhonsky clearly got readers interested in their latest effort, a Tolstoy collection. And David Shields' Year in Reading contribution, while eclectic, nonetheless drew readers' focus to Gregoire Bouillier's The Mystery Guest. Powered by continued interest in The Millions' Best of the Millennium series, where the book had a strong showing on both out panel list and our readers' list, David Mitchell's Cloud Atlas took over the top spot in the Top Ten. And finally, dropping from the list were Thomas Pynchon's Inherent Vice, The Skating Rink by Roberto Bolaño, The Year of the Flood by Margaret Atwood, and The Wild Things by Dave Eggers. See Also: Last month's list
The Interrogative Mood: A Novel? By Padgett Powell: Well, yes, as the subtitle inquires, is it really a novel? Or is it a prose-poem? Or is it a work of non-fiction written by deranged, and eccentric genius somewhere out in the deep woods of the South, while slapping at mosquitoes and lamenting, generally, a life lived on the outside? Or is The Interrogative Mood some kind of experiment? Or is it all of the above? Who gives a shit? Is not the more important question whether The Interrogative Mood pleases or displeases? Do you imagine he will next write a volume of answers to the questions? Would you like to know what else I know about Padgett Powell? Isn't it the case that he once lectured me about the superiority of Lynyrd Skynyrd (when compared to all other bands from the South), indicating that he had seen them perform with the classic line-up, before the airplane accident, and did he or did he not also fall into something remarkably like air guitar in the middle of this disquisition? Is it not, by now, obvious that American fiction is withering, like some container of Chinese takeout left in a lower drawer of the fridge to grow new and more colorful types of mold, and that anything that takes us to a new place is urgently necessary? And can I just say that this new place, the place to which Powell transports us in The Interrogative Mood, not only thrills with its originality, but also moves us, with its odd blend of melancholy and high comedy? What could be better? More from A Year in Reading
Padgett Powell's The Interrogative Mood is a supreme literary stunt: a short "novel" composed only of questions, each of which seems to implicate the reader in a narrative conspiracy as serious and absurd as his or her own life. Ultimately, Powell's little book can be seen word-machine designed to induce unprecedented states of interior monologue, or narrative drug. More from A Year in Reading