I am eternally fascinated by the way in which a string of words can take on a life of its own. With a mere 26 letters, a good writer can have a reader believe anything. When realist fiction first became a category in the 18th century in England, there was a lot of handwringing over whether readers were being lied to. Of course, they were! That is the point of fiction. My own work has always played with the boundary of realist fiction, fairytale, and truth. I’m interested in the way a story can make meaning—and the more hijinks, the better!
My book tells the story of how I left my marriage and, seeking to find answers about my stillborn brother, instead became obsessed with writing the story of my great-great-grandfather who fought as a substitute soldier in the American Civil War. Russell Boyt was half-mad and definitely not suited to any sort of armed combat. In both the story of my brother and the story of my ancestor, scant evidence leads to wild re-imaginings of what might have happened and some sort of truthiness emerges from the wreckage. The novel is about how deeply and earnestly we are capable of narrating our own lives.
My book has been described as “a glorious enchantment” and was nominated for the Scotiabank Giller Prize (2023).
Crusoe is a failed slaver, a reckless son, a bad sailor, a pretty crap boss, a parrot lover and, in all of that, he shows us how damaged and imperfect a system we have inherited.
I love Robinson Crusoe for its audacity. When it was first published in 1719, readers were furious to discover that there was no such person as Crusoe but that, instead, the story was fabricated by one Daniel Defoe, who had recently spent three days in the stockades for seditious libel. I love the insanity of this story, how it wants us to believe that a man spends 28 years on a deserted island and still comes home to England richer than when he left. A flawed novel but our first in English, it is also our first autofiction.
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I love Stein’s unapologetic and brazen queerness at a time when that was not exactly appreciated. Toklas was Stein’s lifelong lover, with whom she shared her life in Paris.
To me, this book feels like a love letter. My favorite scene is the one in which Toklas and Stein invite the struggling artists of Paris to dinner and then sit them opposite paintings they themselves have made in order to keep them from arguing. Stein’s wit is as lively as ever in this book, and–it’s simply the best example of a hoax autobiography I can think of. And it certainly puts paid to any notion that an autobiographical text might be stable or even a little truthy.
Words do marvelous things as they emerge out of Stein’s brilliant mind.
Reading Kenzaburo Oë is like falling into a dreamscape. I love this book because it weaves the personal and the fictional in ways that make it impossible to distinguish them.
Is not all of life a melding of dream, reality, and the stuff we make up? Much of Oë’s writing is influenced by his son, Hikari, who was born with cognitive disabilities. This makes the story of the young man in A Personal Matter, who is struggling with the stress of his sick newborn, a fiction heavily informed by personal history.
To take one’s own story and use it to bring to life another one is the height of art-making. It felt like a healing to read.
From the Nobel Prize–winning author: “One of the great short novels of the 20th century” (The Wall Street Journal).
Internationally acclaimed as one of the world’s most influential writers, Kenzaburō Ōe brings to the fore the post-WWII rage and anxiety of a decorous society in this “deathly black comedy . . . dripping with nuclear terror” (The Japan Times).
Bird is an antisocial twenty-seven-year-old intellectual hanging on to a failing marriage with whiskey. He dreams of going to Africa where the sky sprawls with possibilities. Then, as though walloped by a massive invisible fist, Bird’s Utopian fantasies are shattered when…
I set out very determined to despise this first book of Knausgard’s series. Knausgard’s life is no more fascinating than anyone’s. This is not necessarily his life but some reasonable facsimile that dips in and out of reverie, philosophy, and the hardcore reality of cleaning up after an alcoholic parent dies. Hoarding, self-loathing, and Nordic landscape are all features. I mean, what is NOT to love about that?
My lust for this book is not so much what it is about, though, as how it does this thing of drawing me along in its unadorned vocabulary to wholesale belief in everything that is put down. It is a supreme hoax that I am grateful to have encountered.
A New York Times bestseller, My Struggle: Book 1 introduces American readers to the audacious, addictive, and profoundly surprising international literary sensation that is the provocative and brilliant six-volume autobiographical novel by Karl Ove Knausgaard.
It has already been anointed a Proustian masterpiece and is the rare work of dazzling literary originality that is intensely, irresistibly readable. Unafraid of the big issues—death, love, art, fear—and yet committed to the intimate details of life as it is lived, My Struggle is an essential work of contemporary literature.
I’m not even sure this fits in my category, but I loved it so much that I am going to force it to fit. I love a good love story, and this one is one of the best. I love that I both love and hate the two main characters and that their flaws allow me to engage so fully with them that I WANT them to be real people. I wanted to write them letters, saying, “Aw, pet, it’ll get better.” But here, it really doesn’t, and a kind of truth prevails. Love is not eternal, but it sure can feel like it when you are in its throes.
NOW AN EMMY-NOMINATED HULU ORIGINAL SERIES • NEW YORK TIMES BESTSELLER • “A stunning novel about the transformative power of relationships” (People) from the author of Conversations with Friends, “a master of the literary page-turner” (J. Courtney Sullivan).
ONE OF THE TEN BEST NOVELS OF THE DECADE—Entertainment Weekly
TEN BEST BOOKS OF THE YEAR—People, Slate, The New York Public Library, Harvard Crimson
AND BEST BOOKS OF THE YEAR—The New York Times, The New York Times Book Review, O: The Oprah Magazine, Time, NPR, The Washington Post, Vogue, Esquire, Glamour, Elle, Marie Claire, Vox, The Paris Review, Good Housekeeping, Town &…
Benghazi: A New History is a look back at the enigmatic 2012 attack on the US mission in Benghazi, Libya, its long-tail causes, and devastating (and largely unexamined) consequences for US domestic politics and foreign policy. It contains information not found elsewhere, and is backed up by 40 pages of citations and interviews with more than 250 key protagonists, experts, and witnesses.
So far, the book is the main -- and only -- antidote to a slew of early partisan “Benghazi” polemics, and the first to put the attack in its longer term historical, political, and social context. If you want to understand some of the events that have shaped present-day America, from political polarization and the election of Donald Trump, to January 6, the US withdrawal from Afghanistan, Russian expansionism, and the current Israel-Hamas war, I argue, you need to understand some of the twists and turns of America's most infamous "non-scandal, scandal.”
I was in Benghazi well before, during, and after the attack as a US diplomat and co-director of a medical NGO. I have written three books, and have been a contributor to The NYT, Foreign Affairs, Forbes, Salon, The Financial Times, Newsweek, and others.
On September 11, 2012, Al Qaeda proxies attacked and set fire to the US mission in Benghazi, Libya, killing a US Ambassador and three other Americans. The attack launched one of the longest and most consequential 'scandals' in US history, only to disappear from public view once its political value was spent.
Written in a highly engaging narrative style by one of a few Western experts on Libya, and decidely non-partisan, Benghazi!: A New History is the first to provide the full context for an event that divided, incited, and baffled most of America for more than three years, while silently reshaping…
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