I read just 43 books in 2010. That’s down from 49 last year, and it seems unlikely to go up by more than, maybe, one or two more titles before this final week of the year is through. Even getting to that 43 took a little bit of creative counting; the final tally includes a pair of short novellas from this year’s Hugo Awards, as well as more than a couple of graphic novels, like the first three volumes of Alan Moore’s Swamp Thing…which are, in fact, re-reads for me. It also included at least one book for work…though not another book for work, since that one won’t be published until at least January.
But, whatever the count, now looks like as good a time as any to look back on the books I did manage to read this year.
* An Evil Guest by Gene Wolfe
Back in January, when I first wrote about Wolfe’s strange comic-horror novel, I said, “It’s rare to come across a book I like and dislike in such equal measure.” And you know, that hasn’t really changed, although I think I’m less forgiving of its faults these many months later. There’s much to like about the story, particularly how it plays with the Lovecraftian mythos lurking in the background, while letting all its many different genre influences simply collide. But in the end I think it’s undone by Wolfe’s often needless verbosity, by the feeling you can’t shake that none of it matters, and by Wolfe’s seeming inability to write a female character that isn’t a thinly drawn caricature. That last is also a flaw in Wolfe’s massive “Solar Cycle,” his much better-regarded (and, frankly, much better) twelve-volume opus, which I spent most of 2009 reading for the first time. I hesitate to call Wolfe’s writing sexist or misogynist, because I don’t think that’s fair, but there does often seem to be an uncomfortable chauvinism at work in the books of his that I’ve read. It may be fair to say that Wolfe simply can’t write convincingly three-dimensional female characters, and that blind spot is all too apparent in Guest‘s Cassie Casey. |
* Falling Man by Don DeLillo * Let the Great World Spin by Colum Mccann When I first read DeLillo’s novel, I was struck by the fact that what I seemed to like most about the book was the very thing that its critics seemed to dislike — namely that it was an intimate character piece, concerned with the immediate effects of the September 11 terrorist attacks on a few individuals, and not the definitive 9/11 novel they had for some reason (I think unfairly) expected him to write. I said:
McCann’s novel deals with the events of that day as well, though less directly, in a series of interconnected stories that use Philippe Petit’s 1974 tightrope walk between the two towers as their starting point. Though, as New York Magazine pointed out, “[t]here do in fact seem to be some echoes of DeLillo in this book.” McCann responded:
McCann’s book is more an allegory of those later events, told through the interconnecting lives touched (oftentimes without even knowing it) by Petit’s walk, and an elegy for a city and time that no longer is. I quite enjoyed it. |
* Interpreter of Maladies by Jhumpa Lahiri * Olive Kitteridge by Elizabeth Strout * The Lamp at Noon and Other Stories by Sinclair Ross * Light Action in the Caribbean by Barry Lopez While McCann’s novel could, in many ways, be more rightly called a collection of short stories — as could, I suppose, even Kim Stanley Newman’s The Years of Salt and Rice, which I talked about recently here — in 2010 I read some honest-to-goodness short story collections. You could argue — and I seem to recall seeing it argued somewhere, once — that Jhumpa Lahiri’s stories are eventually all about the same thing: short tales of Bengali Indian expatriates living in or around Boston. (Which, as it happens, is similar to her own life experience.) But when those stories are so beautifully told, with such warmth, affection, and longing, I think you get a pass. I haven’t read her novel, nor her second short story collection, but Interpreter of Maladies was one of the best books I read this year. I’d say the same for Elizabeth Strout’s collection of loosely connected stories, which gives us characters (particularly the title character) it’s often difficult to love but impossible not to feel for. And again, the same could probably be said for Sinclair Ross’s collection of stories about the hardscrabble life on the Canadian prairies. The book was a birthday present from Heather, in her efforts to familiarize me with some of the jewels of Canadian literature. Of course, I read it while I was in sunny San Jose this past March, staying in a fancy hotel for work, so I don’t know that I got the full, snowy, Depression-era effect. But I quite liked it; and of the books that Heather sent me, and that I’ve so far read, I think it’s maybe been my favorite. I didn’t love Barry Lopez’s collection, which is a shame, since Joe Spano’s reading of his story “The Mappist,” on PRI’s Selected Shorts, remains one of my favorite short stories ever. Not that there aren’t a few other scattered gems in Lopez’s book, but in the end many of them just didn’t quite work for me. |
* Fifth Business by Robertson Davies * The Handmaid’s Tale by Margaret Atwood Two more of the quintessentially Canadian books Heather sent me in March. She made sure to qualify her praise of Davies’ book by calling it “the bane of every Canadian high-schooler’s life.” And I guess I can see that, or at least see similarities in the novel to unpopular assigned readings of my own past; but as I’m at last glance neither a high-schooler nor Canadian, I have to say, I enjoyed it. It’s true, my own praise for the book wasn’t exactly effusive either — “I kind of liked it” — but…well, I don’t expect it to become the bane of my life anytime soon, and I’m still actually kind of interested in reading the next books in Davies’ trilogy. I was a little more familiar with Margaret Atwood going into this. I quite liked her novel The Blind Assassin, for instance, and her short story “Happy Endings” is another perennial favorite. Yet The Handmaid’s Tale, undoubtedly her most famous novel, was a little different than I expected. Right after I read it, I said:
It’s that idea of great science fiction being of its time — about its time, more than in any definitive way about the future — that really resonated with me when I saw William Gibson speak in September. There, and in interviews done around the same time, he seemed positively gleeful over the idea that Neuromancer, once acclaimed as so prescient, would now, just by a matter of course, seem dated. “If you’re a 12 year old reading Neuromancer today,” he’s said, “you’d get about 20 pages in and figure out that the real mystery of the book is what happened to all the cell phones.” Great, socially relevant science fiction — and I think both Gibson’s book and Atwood’s qualify — should feel dated to readers living in its future. |
* The Unit by Ninni Holmqvist * The Girl With the Dragon Tattoo by Stieg Larsson * The Plague of Doves by Louise Erdrich * Bones of Faerie by Janni Lee Simner * Horns by Joe Hill * Runaways: Dead Wrong by Terry Moore and Humberto Ramos Ninni Holmqvist’s dystopia, on the other hand, almost feels a little dated even now, and as I noted here, it almost can’t help but suffer by comparison to Atwood’s novel, which I read so soon before it. It was easily one of my biggest disappointments of the year, and although intriguing, more than anything I found it underdeveloped and unconvincing. Holmqvist just doesn’t do much of anything with her world. There’s little reason to care about her characters, beyond our immediate horror at the society in which they live, the circumstances in which they find themselves, and it’s tough even to sustain that horror when the world itself doesn’t often seem that horrific. For a long time, I thought Holmqvist was trying to be ambiguous, getting us to question our basic assumptions about this imagined society: well of course creating a dispensable class of people for organ donations and medical testing is abhorrent, but what if they lead really rich and productive lives, maybe for the first time, in that very same environment? What happens when the horror becomes banal, when the cold and efficient abattoir is also a warm and inviting shopping mall? And you know, that could have been a great book. But I don’t think Holmqvist, or at least her translator, ever really manages it. And speaking of wildly disappointing translations, how about Stieg Larsson’s runaway bestseller The Girl With the Dragon Tattoo? As I said back in May:
But it has been wildly successful, so what do I know? I was also disappointed by Louise Erdrich’s book, which is really a novel in name only. I’m not at all against repackaging stories as loosely connected novels — see Olive Kitteridge above, one of my favorite books of the year. But in Erdrich’s hands, the stories never really coalesce into a recognizable whole. There are some interesting characters, and moments, but even as a short story collection I fear this would feel disjointed and rambling. Then again, the book was a finalist for the 2009 Pulitzer Prize, so again, what do I know? Then again, I picked up an autographed copy in the remainder bin at the bookstore, so… Another big disappointment was Janni Lee Simner’s young adult fantasy novel, The Bones of Faerie. In April, I wrote:
I think I’ll probably skip the sequel, due out in April. And I suppose I can’t talk about the year’s disappointments without also touching upon Joe Hill and Terry Moore. In some ways, Hill’s second novel, Horns, was one of the better books I read this year. As I wrote back in May (on the very day I picked up a copy of Larsson’s book, as it happens), Hill’s book is
So if not precisely a disappointment, it was still a reminder that Hill, for all his promise and talent, still could maybe use a little work around the edges. And as for Runaways…as much as I like Terry Moore, I can’t help but thinking Brian K. Vaughan and Joss Whedon did it a whole lot better. This is probably the first Runaways comic I didn’t particularly like, much less genuinely love. Maybe I’ll check out the next volume, but this one may be proof that not every series is a good fit for every creator. Though, seriously, Vaughan and Whedon were tough acts to follow. |
* Farm City by Novella Carpenter * Nickel and Dimedby Barbara Ehrenreich * American on Purpose by Craig Ferguson * My Year of Flops by Nathan Rabin Let’s talk briefly about the nonfiction I read this year. And we may have to be brief, because there was surprisingly little of it outside of work, and I’m not sure I have anything of interest to say about these four books. Novella Carpenter’s Farm City was the only free book I managed to pick up at this year’s BookExpo America. And ultimately, it’s probably the only freebie that was worth picking up. (Unless you’re super-fond of tote bags and cheaply made kazoos.) It’s not a phenomenal book, and Carpenter owes an acknowledged debt to perhaps better writers like Michael Pollan, but her tale of living as an “urban farmer” is quite engaging. She didn’t convince me to start raising pigs and chickens in my own yard, and ultimately she provides less real food for thought than books like Pollan’s The Omnivore’s Dilemma. But she and her neighbors make for interesting characters, and her book is a lot of fun. Barbara Ehrenreich’s book maybe isn’t quite as much fun, given its sometimes more bleak subject matter of people living on the financial edge, but it’s also a book where the personal moments are ultimately more interesting than the bigger picture. What the book is about isn’t half as interesting as Ehrenreich’s own narrative. As I wrote back in June:
And then there’s Craig Ferguson’s autobiography, which is almost nothing but engaging personal narrative. It’s a funny and surprisingly touching memoir, the sort of smart and candid portrait you might expect from the host of the Late Late Show. In it, he writes:
It’s hard not to like him after that. I also quite liked Nathan Rabin after reading My Year of Flops: One Man’s Journey Deep into the Heart of Cinematic Failure. In truth, I’d read most of these film reviews when they originally ran during Rabin’s My Year of Flops feature at the A.V. Club, but they’re often amusing and interesting enough to merit a second glance, and Rabin includes enough new material to make the copy I bought (autographed, no less) worth it.
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* The City & the City by China Miéville * The Windup Girl by Paolo Bacigalupi * The Patron Saint of Liars by Ann Patchett * Invisible by Paul Auster * How to Live Safely in a Science Fictional Universe by Charles Yu * We Have Always Lived in the Castle by Shirley Jackson * The Risen Empire by Scott Westerfeld * The Joe Pitt Casebooks by Charlie Huston Let’s finish by talking about a few non-flops, some of my other favorite reads from the year. As when I first read it, I think what’s stayed with me most about China Miéville’s The City & The City — beyond it’s being just a really engaging mystery — is that description on the back cover, promising “a city unlike any other.” Miéville’s city — or, rather, cities — are unlike any other we’ve seen, and yet, fundamentally, importantly, they are very much of our world. As I wrote back in April:
Paolo Bacigalupi’s The Windup Girl also takes our very real world and extrapolates from it, to create a wholly original and vibrant future, yet also one that feel totally convincing and plausible. At times, perhaps, all too plausible. It was my top vote for this year’s Hugo Awards, and in fact tied with Miéville’s book. (And seriously, if you didn’t this year, next year, buy yourself a Worldcon membership. The Hugo packet with the nominated works alone is worth the price of a non-attending membership.) If nothing else, how can you not like an author whose last name roughly translates to “kiss of the wolf”? The Patron Saint of Liars and Invisible both represent authors at the top of their respective games. Patron Saint maybe doesn’t have the breathless poetic beauty of Ann Patchett’s later novel (which I read first) Bel Canto. And Invisible maybe does examine themes and situations familiar to any reader of Paul Auster’s earlier books. Yet both are terrific decades-spanning stories — about families and loss, on the one hand, and about the consequences of youth and malleability of identity on the other. Both, in very different ways, are about the consequences of lies. Both, particularly Patchett’s novel, feature indelible characters it’s difficult to forget. Having been recently quite disappointed in Auster’s novels, and having liked but not loved Patchett’s novel The Magician’s Assistant, it was a pleasure to read both of these. I maybe said everything I need to say about Charles Yu’s How to Live Safely in a Science Fictional Universe when I quoted these two passages from the book. I think this was pretty easily my favorite book of the year. Equal parts funny, haunting, and insightful, Yu’s book is a moving meditation on loss and a terrific genre deconstruction. It’s also fun. Of his own writing, Yu has said:
And in a more in-depth interview… I hesitate to say too much about Shirley Jackson’s We Have Always Lived in the Castle, if only so as not to spoil it for anyone who hasn’t read it. I will say this much: Merricat Blackwood is a wonderfully unreliable narrator. (I delighted at seeing her right below Nabokov’s Charles Kinbote on this list of the 100 Best Characters in Fiction Since 1900. Exceptionally creepy and subtle. I’d not read a lot of Shirley Jackson before this, beyond her story “The Lottery,” which I suppose every high-schooler readers at some point. But I’m exceptionally glad I bought a copy of her collected stories and novels from the Library of America. (Even if it does mean I don’t actually get that lovely Penguin Classics cover in the sidebar there.) Which leaves two series, Scott Westerfeld’s two Succession Series books and Charlie Huston’s five Joe Pitt Casebooks. Westerfeld’s The Risen Empire and The Killing of Worlds represent space opera in all the best senses, a galaxy-spanning tale of secrets and battles and love and AI. I’m not entirely convinced it ends quite as well as it might have — it’s a great and exciting tale, but it left me feeling just the tiniest bit unsatisfied — yet it’s the great storytelling I’ve come to expect from Westerfeld. And as much as I enjoy his young adult series — particularly, I think, the three Midnighters books — these two do make me wish he’d wander back over into more adult science fiction. Charlie Huston’s books are by no means young adult novels. They’re gritty and bloody, sometimes downright nasty and vulgar, but they’re also great hard-boiled fun. Huston’s detective (of sorts), Joe Pitt, is a tough-talking man of action, always getting into trouble, alienating friends, never knowing when to stop mouthing off. He also just happens to be a vampire. I liked Already Dead enough to read the rest of the books in the series, but it’s only as a collected whole that they make my list. (And a note here to publishers: when a new, or even the last, book in a series comes out, that’s maybe a good time to offer the first as a free e-book. It’s a good way to interest new fans. I did me, with Huston.) I read the last four books in rapid succession — much the same way, in fact, that I read Westerfeld’s Midnighters series last year — and it was a good way to really feel immersed in Pitt’s world. It’s a brutal and bloody world, of vampire infections, zombie murders, and sex, but it’s quite entertaining. |
And that’s it, really. Isn’t that enough?
I didn’t find something to say about every book I read this year, but sometimes there isn’t a whole lot to say. Ubik is, for better and worse, everything you would expect from a Philip K. Dick novel. The Subtle Knife is inventive and exciting, but also a little dour and humorless, much like I found Philip Pullman’s earlier The Golden Compass. Usagi Yojimbo is great fun. Fables sometimes feels like it’s trying too hard, could be plotted a bit better. Swamp thing is quintessential Alan Moore. And those two novellas…well, the James Morrow one was okay; the Rachel Swirsky one was considerably better.
Not quite sure as of yet what I’ll read in 2011. Maybe Ethel the Aardvark Goes Quantity Surveying? Nah. I’ll think of something.
Some great book talk here, Fred!
I’m sorry to know that you found The Unit disappointing, since I just got it for Christmas, but we’ll see whether maybe I like it better. Ditto A Plague of Doves, which I bought on my Powell’s spree last month, since I liked her Shadow Tag a lot. Well, I’ll keep my fingers crossed.
And I’m still not sure why the hell The Girl with the Dragon Tattoo is so popular. I mean, it had some interesting aspects, and I’m not sorry I read it or anything, but why have random people been walking up to me and recommending it? Despite your analysis, I am still mystified.
I liked ‘The Unit’ a lot, but chacun son gout, I suppose. Glad you liked those Canadian books I sent down to you – I do love Sinclair Ross. Such a way with words.
I haven’t read the Girl w/ Tattoo yet, but so many people have that I think I’m going to have to soon.
For what it’s worth, I have read The Unit now, and thought it was one of those odd, interesting books that is obviously pretty flawed, and yet which push enough of my personal buttons in the right kind of ways that overall it really worked for me, anyway.
I should maybe add that I found The Unit so disappointing precisely because I didn’t hate it, because I found much to like about it, or at least a lot that was enjoyably off-putting. It’s a feeling similar to the one I had while reading The Girl With the Dragon Tattoo, actually, perhaps due to their shared Swedish origin. (Although I think Holmqvist comes across in translation as a much better writer than Larsson.) I just felt like she never really committed to the world, never developed its characters beyond their surfaces, never gave me a reason to care beyond the obvious “well this is creepy and wrong” vibe. I might have had an easier time with the book if I had hated it, had been more immediately sure about my feelings toward it.