|The 2019 List
reverse chronological order
»The Story of a New Name
»Tenements, Towers & Trash
»My Life in Middlemarch
»The Feral Detective
The 2018 List
The 2017 List
The 2016 List
The 2015 List
The 2014 List
The 2013 List
The 2012 List
The 2011 List
The 2010 List
The 2009 List
The 2008 List
Sometimes a Great Notion,
Franny & Zooey,
David Foster Wallace
Honorable mentions: Paul Auster, Rick Bass, Michael Chabon, Charles Dickens, Stephen Dobyns, Neil Gaiman, Thomas Hardy, Graham Swift, Tim Winton.
|The books of 2019|
The Story of a New Name (2012, Elena Ferrante)
Why I picked it: Second book in the series that started late last year with "My Brilliant Friend," which I liked.
What it's about: Neapolitan girls Elena and Lila from their mid-teens to early 20s, in the late 1960s.
What I thought: I liked this one about as well as "My Brilliant Friend." It continues the theme of the girls' struggles against the limits imposed against them as young women from the lower class, even as they break some barriers academically (Elena) and economically (Lila). What's next: Two more.
Exit West (2017, Mohsin Hamid)
Why I picked it: I know I was aware of this when it came out, and I thought, I read a lot about refugees already and, sympathetic though I am to their plight, I think I can skip this novel. Then, recently, two times in two weeks I ran across favorable mentions, and one was from Jonathan Lethem raving about it, so I put it on my list.
What it's about: Two young people meet just as the Islamic insurgency in their unnamed city is ramping up from somewhat restrictive to dangerous. After a few months, they decide to flee together.
What I thought: The description of the pre-refugee lives of Nadia and Saeed made me think a lot about what it must be like to see your life gradually and then suddenly became something so unfamiliar. In that way, it was like some things I've read/seen about the early days of the Holocaust — "The Plot Against America," or "The Pianist."
The writing style is a little like that of that of a fairy tale or fable, which makes sense when the big plot twist is introduced. (I have a sense that my limited audience is not that concerned about spoilers, but here's the boilerplate warning. Stop, or be informed.) There are portals all over the world, geographic wormholes that can spit you out halfway around the world. Nadia and Saeed pay someone to direct them to one of these doors. From that point it becomes somewhat magic realism, or maybe science fiction, portraying an alternative present or near-future in which sometimes unlikely neighborhoods are all of a sudden flooded by people fleeing war or poverty or natural disaster. The experiences of people other than Nadia and Saeed are recounted in vignettes — for instance, a young Mexican woman who had gone through a portal comes back through it to retrieve the child she had left in an orphanage when she went to find work.
Once it became less a social/political story and more about the evolution of Nadia and Saeed as a couple, it wasn't quite as interesting to me, but I still liked the speculation about how certain areas (including one I know well) might be very different if they were at the end of a portal.
Tenements, Towers & Trash: An Unconventional Illustrated History of New York City (2017, Julia Wertz)
Why I picked it: Saw this in the library and recognized the drawings of an artist who does a lot of architectural/historical features for the New Yorker.
What it's about: Large-format book of mostly drawings of New York buildings, focusing on how specific buildings and blocks have changed over the decades.
What I thought: This is the kind of thing I really like, though I'm sure I would have liked it even more if I had more familiarity with New York. I like the way Wertz draws buildings and architectural elements. I'm less enamored of her cartooning and her prose. Many of the pages are paired drawings of a strip of three or four buildings in different decades. She sprinkles in essays on certain topics (punk rock, garbage collection, secret bars) that I found a little hard to read because 1) they were hand-lettered in all caps and 2) I was put off by her extremely colloquial description.
My Life in Middlemarch (2014, Rebecca Mead)
Why I picked it: I was rereading "Middlemarch."
What it's about: Mead, a big fan of "Middlemarch" since her teen years, writes about George Eliot's life and work and weaves in her own personal history and her evolving thinking about the novel.
What I thought: I'm glad I read this. It helped me come to grips with some of the elements of "Middlemarch" that kinda bugged me, and it has some enlightening passages about literature in general. It's much better than the only similar book I've read, "So We Read On," about "The Great Gatsby."
The Feral Detective (2018, Jonathan Lethem)
Why I picked it: I like Lethem's novels, particularly those that are a twist on the detective genre.
What it's about: New Yorker Phoebe comes to Southern California and teams up with a private detective to look for her friend's missing daughter among some strange encampments in the Mojave Desert.
What I thought: This is now my favorite of Lethem's novels except for "Chronic City." This one is a headlong tumble through a neonoir Southern California seen through the eyes of a New Yorker, bemused by things as quotidian as the In-N-Out secret menu and as far-out as the Integratron. (This follows. Lethem has been teaching since 2011 at Pomona College, in the endowed post once held (and declared a "lottery prize") by David Foster Wallace.) I kept thinking it was very cinematic in its imagery and its form, practically written as a screenplay. There's one scene in particular, in a raggy-ass collection of carnival rides out in the desert, that I could practically see unfolding. The novel starts right after the 2016 election and has as a subtheme the era of Trump, with its attendant alienation and tribalism.
Middlemarch (1871, George Eliot)
Why I picked it: I read this one about 12 years ago, and found it somewhat tough going. Now, having had more experience with 19th-century novels, I thought I'd try it again.
What it's about: Intertwining stories about families in an English Midlands town around 1830, focusing on marriage and inheritance and reputation.
What I thought: It was much easier reading this time, but it still seemed pretty humorless to me — Celia I found funny, but that's about it. Oh, and the little woman who "makes noises like a beaver." Not that all novels, or even all 19th-century British novels, have to have be funny, but this one I found way too sober and serious all the way through. It was enlightening on the subject of a woman's social and familial role during this time; that's about the best I can say about it in the way of a recommendation. Glad I gave it another shot, though.
What's next: I read Eliot's "Silas Marner" shortly after I read this one for the first time. None of her others are very high on my list. If I live a long time I might eventually try "The Mill on the Floss."