Taking nearly a year to read a new Roberto Bolaño is an unforgivable sin. Bolaño is the kind of writer who, once discovered, should be returned to every six months at the least. The cause of this shameful delay on my part is because for the past year I have been intending on reading his 900-page posthumously published finale, 2666. The past couple years I have been working hard to get better at reading more 500-plus-page books, but I definitely haven’t reached the point where I can pick up an 900-pager without months of deliberation. Last year I read Edith Grossman’s translation of Don Quixote (it’s amazing, read it), clocking in at a satisfying 1,000 pages. By the end of this year, my goal is to finally read 2666.
Diversion aside, while I didn’t read Bolaño’s magnum opus, I did read a book that nonetheless reveals his genius. Nazi Literature in the Americas is structured as an encyclopedia of writers who were either born or based in Latin America and North America, and, as the title implies, whose work and private life were politically and/or morally dubious. But as a master craftsman, Bolaño takes this idea and explores it with eloquent subtlety.
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A lesser writer would have taken the concept behind The Answers and used its strangeness as a vehicle for quirk and comedy. But in Catherine Lacey’s hands, the story is explored with complete seriousness and a mournful melancholy that manages to make even the most exaggerated moments deeply touching.
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The New Me by Halle Butler proves that it is possible for a book to simultaneously confirm all our worst fears about the meaninglessness of modern life and to also serve as an argument for why it’s (mostly) worth living.
Millie is a thirty-year-old temp starting yet another low-paying office job as an assistant receptionist at an upscale design studio. She dislikes all of the women she works with and spends her considerable amount of free time overhearing their conversations and basking in how much more vapid and frivolous they are than her. She spends her evenings at the messy apartment her parents pay for, watching Forensic Files on a loop, eating the sad dinners that she can afford on her $12 an hour salary, and getting drunk on booze that she bought with money she could’ve used for food instead. If reading any of this is making you feel like a mirror is being mockingly held in your face, you are part of a gloriously miserable troupe known as Millennials. With infectious mirth Butler hits on the ceaseless anxiety, manic rage, and chronic helplessness that is existing in the 21st century.
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Thomas Pynchon’s debut novel V. was published when he was twenty-six. V. is sprawling, overwhelmingly complex, and clocks in at a nimble 547 pages. I turned twenty-six this year, and what life’s work can I place next to Pynchon’s at the same age? Well, I’ve written a handful of messy and pretentious short stories, and many messy and pretentious book and film reviews, and only the latter was published by anyone other than myself, albeit on tiny websites. But enough with the existential crisis this is causing me, writing about this book will be challenging enough.
At twenty-six, Pynchon had a comprehensive knowledge of a staggering amount of historical and technical information, which he expressed through V., with some of the novel’s most significant examples being: the British intellectual and political communities in Egypt at the end of 19th century, espionage in Florence circa 1899, German expatriates in 1920s South Africa, the Herero wars, Malta in the midst of the Suez Crisis and under German bombardment in World War II, and, lastly, the bohemian scene of 1950s New York City (although Pynchon did see this first-hand).
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My main issue with The Collected Schizophrenias was Esmé Weijun Wang’s reliance of putting on a tough and unemotional front while recounting her horrifying experiences with schizoaffective disorder bipolar type. But yet I feel guilty for this quality of her writing bothering me as much as it did. Wang’s illness has rendered her unreliable emotionally and mentally in the eyes of most people her entire life. She has been misdiagnosed (as bipolar before her psychologist diagnosed her as schizoaffective in a flippant email), and then diagnosed with a condition that many doctors consider unverifiable (late-stage Lyme disease). She has had to make herself appear well and stable to keep people from righting her off as crazy.
I know all these things, yet while reading The Collected Schizophrenias I couldn’t stop wishing that she would stop working so hard to portray herself as tough and composed and embrace the vulnerability she felt during her horrific experiences with hallucinations and involuntary hospitalization. She writes about her journey with her illness like Joan Didion writes about losing her husband and daughter one after the other, but the problem with that is Wang doesn’t give us the painstakingly introspective look into her mind during her experiences that Didion does. This makes sense, Didion wrote about her experiences in The Year of Magical Thinking (focused on the sudden death of her husband, John Gregory Dunne, and the illness of her daughter Quintana) and Blue Nights (focused on Quintana’s death) essentially as they were happening. Much of Wang’s experiences she is writing about are over a decade past. And the impression we get is of her writing about them from a distance, not completely detached but definitely distanced from the raw emotion she was feeling at the time. It made me want to scream Let me in! While many memoirs lately bask in the opportunity at victimhood, often not entirely earned, Wang has earned sympathy and understanding yet tries so hard to avoid coming off as a victim. Most of all, though, she has earned the right to be angry – at the illnesses that have made her endure more than most people ever could, and at the fallibility of science and the mental health industry.
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It is a special satisfaction to finally read a book that has been on your list for as long as you can remember. It’s an even special-er satisfaction when that book lives up to your expectations, as was the case with The Haunting of Hill House. However, now I am faced with the challenge of writing about a book that has been extensively written about by writers far more suited to the challenge than I am (Joyce Carol Oates, Laura Miller, Carmen Maria Machado, Neil Gaiman, etc). I’m going to give it a crack nonetheless, but will keep it brief and to the point.
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With his debut novel, Colson Whitehead follows in the admirable and envy-inducing tradition of taking a subject of interest and creating a whole damn world around it. Whitehead’s topic is, broadly, elevators, and, more specifically, elevator maintenance. He creates a world where elevators aren’t just a convenient mode of transportation that we take for granted until the one we are on stalls for half a second and our entire life flashes before our eyes. No, in the world of The Intuitionist, the creation of elevators in placed comparably next to cars, and the people in charge of making them work are treated with the type of respect architects receive. And Whitehead embraces his story world concept with so much passion and invention that as I ride the elevator to and from my office each day I find my thoughts shifting from what meal I’ll eat next to being aware of just how incredible that box of machinery I’m riding truly is.
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