I started the year thinking about plagues and calamities. Like many people, I felt particularly disturbed by the growing gap between what I felt was my lived reality and what was being reported in the news or in print. I read The Plague by Albert Camus, and I was so disturbed and invigorated by it that I read it both slowly and too quickly. That is, I’d read passages and put the book down, intending to leave it for several days because I felt overwhelmed by it, but sure enough, before the hour was up, I was back at it. The Plague is a novel about an actual plague that befalls a small, seaside town. But it is also a novel about the plague of misinformation that can attach itself to a city or a state, how we often delude ourselves into thinking that catastrophe always lurks elsewhere. It’s a long, slow year of horrifying realizations, all of which have come to me refracted through the chilling, prescient lens of Camus’s gaze. This year, I also read a series of fragmentary books that make me feel as though we’re in some sort of liminal space, where familiar narrative structures are busting up. Pond by Claire-Louise Bennett, Fire Sermon by Jamie Quatro, Leaving the Atocha Station by Ben Lerner, and even Autumn by Karl Ove Knausgaard. What I find interesting about each of the books is that they seem to resist cohering into what we’ve come to understand as a contemporary novel. That is, they’re seeking a kind of fidelity to experience itself rather than a kind of facsimile of life which is meant to give the impression of experience. I’ve found it all very interesting and raw, but I don’t quite know what to do with it or how to define it, but perhaps that’s just the point. [millions_ad] Also at the start of the year, I read André Aciman’s Enigma Variations, a book that also defies easy categorization. It’s a novel, but it’s also linked novellas. It’s a book that distills a man’s life into exquisite, gorgeous moments. We see him as a young man returning to the island of his childhood, touching familiar hurts, old heartbreaks. We see him older, frustrated in love and life. He falls in with someone at his local tennis club. He attends dinner parties. And all the while, Aciman’s keen eye for the fleeting moment, the interrupted gaze, the fateful turning away, never misses a gesture. And of course, in recent months, I’ve revisited his book Call Me by Your Name, what with the release of the film. It’s a novel to which I owe so much of my life and my understanding myself—in way, it’s been a bit like the narrator in the first part of Enigma Variations, checking old wounds to make sure the pain is still there. I think this year my reading has been largely governed by what’s familiar to me. I’ve run toward it and away from it. I’ve tried out new authors, new voices, new styles. I’ve tried to see familiar books again in new ways. I’ve tried to read with keener eyes and better questions. I’ve tried to read, if not broadly, then at least deeply. More from A Year in Reading 2017 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 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
The year I first swam in the Mediterranean. The year my wife became pregnant again. The year I finally finished Homage to Catalonia. The year I finally began a new novel. The year I fell in love with Diego Velázquez. The year of questionable decisions in a Neapolitan disco. The year I learned about kombucha. The year I would move overseas for a while. The year I would sometimes wonder why I'd ever come back. The year of the Trump hole. The year of YouTubing Mr. Rogers for self-medication. The year everybody needed to get the f*** off the Internet. The year of spectacular mid-Atlantic fall. I've always believed in the idea of a zeitgeist, but there are years when the local topography feels especially entangled with the global map. 2016, for me at least, was not one of those. When I look back, I can't avoid the sense of democratic crisis in Europe, or the open conflagration in the Middle East, or the airborne toxic event that was the U.S. presidential election. Winter may well be coming. Yet I also remember, at the more intimate level on which life is mostly lived, moments of mystery, adventure, and grace that seem connected to some other story entirely. Nowhere were those moments more readily available than in the books I chose to read. Perhaps it's most accurate to say, then, that 2016 was a year that gave me plenty of reasons to keep reading. As ever, it's hard to settle on a single title to recommend above any other, but I think I can get the list of absolute best things I read this year down to four. Around the start of a three-month sojourn in Barcelona, I tackled Javier Cercas's The Anatomy of a Moment, and found it to be be one of the most penetrating, mature, and nuanced books about politics ever written. Cercas's ostensible subject is the coup that nearly toppled Spain's fragile democracy in the early '80s. It's a story he unfolds with a characteristic blend of factual scruple and novelistic technique: the pacing is Three Days of the Condor by way of 24 Hour Psycho. Underneath, though, is an argument about heroism that feels both true and profoundly at odds with our usual assumptions. In the context of a government of men, Cercas suggests, real and durable greatness is marked by compromises, trade-offs, disappointments, and missed opportunities, rather than their absence. Not to give away the ending, but maybe politics is more like real life than we'd like to imagine. While in Iberia, I also read José Saramago's Blindness, and immediately regretted the 20 years it took me to pick it up. It, too, works as a kind of political allegory, with hard-to-miss Platonic overtones, but even more than Cercas, Saramago sees power relations as emergent properties of the whole rich mess of human experience: love, sex, death, community. That he can convey this richness with such impoverished means -- the characters are all, for most of the novel, imprisoned in a building they can't see -- is a miracle of art. As beautiful and harrowing as its obvious model, The Plague (and for my money more lifelike in its intimacies), this is a novel people will still be reading in 100 years, if they're still reading at all. Or indeed, still alive on planet Earth. Another discovery for me this year, though of a different sort, was the Finnish-Swedish author and illustrator Tove Jansson. Best known for her ingenious Moomin comics, Jansson also wrote several books aimed at adults, including the The Summer Book. Not much happens in this portrait of a headstrong girl and her equally headstrong grandmother and the island where they spend their summers, but that's the novel's great virtue. The Summer Book is pure loveliness. The movements of tides and winds and boats and insects loom larger for our narrator than the currents of history, and the profound quiet of the setting -- I'm reminded of Akhil Sharma's description of a prose like "white light" -- allows us to hear Jansson's unsparing and ironic tenderness, a tone that remains purely her own, even in translation. The fourth of my European discoveries this year was Christopher Isherwood. I was on my way to Berlin and, like the guy who wears the concert tee-shirt to the actual concert, decided to take Goodbye to Berlin. What drew me in initially was Isherwood's (to my ear) flawless prose, which by itself would put him in a select group of 20th-century English novelists. But the real rewards were the book's surprising scope and depth. For my money, Isherwood and his fictional avatar cast a more comprehensive eye on their moment than Evelyn Waugh or Henry Green or even Graham Greene. The novel walks the tragicomic line with an irreproachable poker face, and so maybe sets an example for us all in these shall-we-say interesting times. Later, back on U.S. soil, I found myself allergic to my traditional time-waster, the newspaper, and so tried to escape into the news of other periods, to restore some perspective. Around the time of the party conventions, I read Miami and the Siege of Chicago, and (though it's an odd kind of compliment) found it to be Norman Mailer's most disciplined performance, and one that still resonates today. Barbarians at the Gate, which I found for a dollar at a library book sale in Maine, has likewise aged well, in part because the rank self-dealing it depicts now seems a kind of national ethos. As for Volker Ullrich's Hitler: The Ascent...well, I guess it says something that I turned to this for refuge. Much was made earlier this year of certain historical parallels, but even as it reminds us that "it can happen here," the book is also detailed enough to illuminate the ways it's not happening here, not yet, and needn't ever, unless we let it. As for contemporary fiction, I read a lot of what you might call flaneurial fiction, fiction in the shadow of W.G. Sebald's The Rings of Saturn, and maybe Robert Walser's The Walk. I finally read, for example, Teju Cole's Open City, a New York novel of exquisite intelligence and refinement, weaving together urban anomie, the history of Dutch colonialism, and the aftermath of September 11. I read Valeria Luiselli's haunting debut, Faces in the Crowd (which does the same for Harlem, potted plants, and Federico García Lorca), and Álvaro Enrigue's psychedelic Sudden Death (Michelangelo Merisi da Caravaggio, tennis, the conquest of the Americas). Then, in search of further antecedents, I read, belatedly, Enrique Vila-Matas's Bartleby & Co., whose wit and melancholy sent me on a Vila-Matas bender. In a somewhat different vein, I read Amit Chaudhuri's beautiful Odysseus Abroad and Geoff Dyer's Jeff in Venice, Death in Varanasi. These are flaneurial novels in the sense of being plotless, but for the essayistic digressions of a Cole or a Luiselli, they substitute the momentum of a quest, a walk with a destination. And each, I think, further complicates the ongoing debate about fictiveness and authenticity. Though neither hides its "reality hunger," exactly, each deploys on its autobiographical material a novelistic imagination as powerful as anything in Charles Dickens...it's just tucked in the corners, where you don't quite notice it. The result in each case is a work where the world and the word are beautifully in balance. (In August, when I finally got around to Paula Fox's Desperate Characters, I was reminded that this subtle form of transformation is an old-fashioned form of magic.) As for current fiction that more fully gratifies my own imagination hunger, I can point to Javier Marías's Thus Bad Begins, a tour de force of wit, suspense, and history. I can point to Nathan Hill's The Nix, whose disparate concerns -- video games, parental neglect, political anger -- are bound together by the warmth, charm, and wit of the author's voice. And I can point to Don DeLillo's Zero K, whose extraordinary final pages seem a capstone for the author's work of the last 20 years. To quote DeLillo himself (writing of Harold Brodkey), it's been one of "the great brave journeys of American literature." Finally, speaking of great, brave journeys, I can't look back on this year without talking about Go Down, Moses. I've been reading my way through the Faulkner oeuvre for almost 20 years now, and am down to what I think of as the "third shelf;" soon I'll be left with only Requiem for a Nun and Soldier's Pay. I've put off reading GD,M in its entirety because many of the short stories it collects are available in other forms; I don't know how many different versions of "The Bear" I've read in my lifetime. But Go Down, Moses, taken as a whole, is really a novel, and one that reminds me of all the novel can do, as in this description of Sam Feathers's wilderness grave: the tree, the other axle-grease tin nailed to the trunk, but weathered, rusted, alien too yet healed already into the wilderness' concordant generality, raising no tuneless note, and empty, long since empty of the food and tobacco he had put into it that day, as empty of that as it would presently be of this which he drew from his pocket -- the twist of tobacco, the new bandanna handkerchief, the small paper sack of the peppermint candy which Sam had used to love; that gone, too, almost before he had turned his back, not vanished but merely translated into the myriad life which printed the dark mold of these secret and sunless places. The dark mold, the secret and sunless places, yes, but also the axle-grease and the peppermint candy, the specific, local, and alive, and the living generality that heals it all together. It's an act of imagination on Faulkner's part, and on his reader's, but no less real -- in fact more real -- for it. And maybe in the most sunless part of this generally dark year, that's reason enough for hope. 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
I read a lot of wonderful books this year, many of them new, and others simply new to me. I loved Amity Gaige’s Schroder, and Victoria Redel’s Make Me Do Things, Roxana Robinson’s Sparta – to name but a few. But this year was, for me, most profoundly about re-discoveries and re-readings. I wrote an article on Albert Camus which had me, for some months, living again with those books I felt so passionately about when I was young: not just The Stranger, The Plague and The Fall, but also The Myth of Sisyphus, The Rebel, and his earliest writings, the glorious little book of essays Noces, which is essentially a love letter to his native Algeria, and which can be found in English in his Lyrical and Critical Essays. Then, too, I’ve been writing an introduction for a forthcoming reissue of Jane Bowles’s wonderful only novel, Two Serious Ladies, a book I consider almost my blood relation. I came upon it by chance years ago in college, and felt so strongly about it that I wrote my undergraduate thesis on her work. Her astringent wit, her particular eye, her combination of levity and profound seriousness – Jane Bowles is unlike anybody else. You can read about her all-too-brief life in Millicent Dillon’s fine biography, A Little Original Sin. In the Venn diagram of the apparently vastly disparate Albert Camus and Jane Bowles, there are more overlaps than you might think (eg North Africa: Algeria for him, Morocco for her), but chief among them is Simone Weil, whom both writers admired and whom Camus championed. So now I’m reading Simone Weil – Waiting for God, to begin with – in order to make sense of why both Camus and Bowles have such significance for me. More from A Year in Reading 2013 Don't miss: A Year in Reading 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
"Obliged to admit that for the first time in my life I feel myself in the middle of a psychological collapse."Albert Camus was in Montevideo, nearing the end of a lecture tour of South America, when he entered those words into his diary. American Journals, chronicling Camus' 1946 voyage to North America and his 1949 visit to South America, shows a humane soul with a sharp mind who's teetering on the brink, one minute penning astute observations on human suffering; the next - perfunctory, and seemingly overwhelmed almost to the point of paralysis by the simplest, most mundane, obstacles.The North American trip in spring of 1946 came four years after publication of The Stranger, and mere months before Camus would complete The Plague. The diary begins on board a ship as Camus struggles with an ocean voyage and girds himself against odd and intrusive fellow passengers. By the end of the crossing, he's figured them out."Everyone prides himself on being elegant and knowing how to live. The performing dog aspect. But some of them are opening up."On such extended voyages as these, false fronts fade after a while and forced impressions begin to wear away. One's fellow-passengers begin to reveal their true nature, or at the very least one catches on to their facades.Once in New York, Camus observes the many sides of the American character. After noting how funeral homes and private cemeteries operate ("you die and we do the rest"), Camus comments that "one way to know a country is to know how people die there. Here, everything is anticipated."Of American generosity, Camus has nothing but admiration. While he was giving a lecture, someone had made off with the box office takings which were to have gone to a children's charity. When the audience finds out, a spectator proposes that everyone give the same amount upon exiting as they gave upon entering. In fact, they gave much more."Typical of American generosity,"Camus lauds. "Their hospitality, their cordiality are like that too, spontaneous and without affectation. It's what's best in them."Camus travels through New England and on up to Quebec. He also visits Philadelphia and Washington D.C. By the time he's back on ship for the return voyage, he's begun to lose interest in his fellow passengers, and his musings reveal his frustration and hopelessness:"Sad to still feel so vulnerable. In 25 years I'll be 57. 25 years then to create a body of work and to find what I'm looking for. After that: old age and death."In fact, Albert Camus would die 14 years later in a car crash. But not before yet again braving the Atlantic - this time for a lecture tour of Brazil, Argentina and Chile.Amusingly, Camus provides loose sketches of fellow shipboard passengers. It seems like a mystery or intrigue novel or film noir just waiting to be written - especially as this was 1949. If anything is frustrating about the journals, it is simply that one wishes that Camus would flesh out his often skeletal thoughts."Woke up with a fever." I tried to calculate just how many of Camus' shipboard entries began with "Woke up with a fever" or some variation. But I lost count. I'm now wondering whether a shipboard memoir could even exist without that sentence. Still, despite his physiological reaction to the voyage, or perhaps even because of it, Camus is deeply enamored of the sea in all its raging power - often remaining transfixed by it. It is "a call to life and an invitation to death," and leaves him with "inexplicably profound sadness."His exhaustion and his ocean fixation clash on one occasion, when he enters this into his diary: "Too tired to describe the sea today."Arriving in Rio, Camus notes: "Never have I seen wealth and poverty so insolently intertwined." Finding himself in the company of a Brazilian poet, Camus offers this scathing assessment:"Enormous, indolent, folds of flesh around his eyes, his mouth hanging open, the poet arrives. Anxieties, a sudden movement, then he spills himself into an easy chair and stays there a little while, panting. He gets up, does a pirouette and falls back down into the easy chair."The corpulent poet later points out "a character from one of your novels" - a thin, gun-toting government minister. But Camus silently decides that it is the poet himself who is in fact a "character."In the hills outside of Rio, Camus is taken to a macumba - a trance-inducing spiritual dance where the dancers attempt to arrive at a state of ecstasy. Camus, hanging back and observing with his arms crossed, was told to uncross his arms so as not to impede the descent of the spirits. In the end, Camus yearns for fresh air rather than heat, dust, smoke and writhing bodies: "I like the night and sky better than the gods of men."After Rio, Camus travels to Recife (A map somewhere in the book would be nice. My edition has none). He describes it as Florence of the tropics. (Although while in Recife, he did "wake up with the grippe and a fever.")Then it was off to Bahia: "In bed. Fever. Only the mind works on, obstinately. Hideous thought. Unbearable feeling of advancing step by step toward an unknown catastrophe which will destroy everything around me and in me."For every journal entry soaked in fever and depression, there's one that lifts you up. Camus writes of a radio program in Sao Paulo where people can go on air to make a public entreaty. An unemployed man went on the air one day and said that since his wife had abandoned him, he was looking for someone to temporarily take care of his child. Five minutes after the program ended, another man came into the station, half-asleep, half-dressed. His wife had heard the plea, woke her husband, and dispatched him to go get the child.After Sao Paulo, it was off to Montevideo, then Buenos Aires, across to Santiago, Chile, then back to Brazil and then home.A slight volume, American Journals nevertheless reveals a fragile man at the height of his fame, who can still, through all of his medical and psychological problems, offer observations which are astute and often amusing, and it offers some personal context to the ideas that would show up in his later works of fiction.