With an illegal war underway and primary results coming in this evening, it may be difficult to think about fiction. But fiction writers are thinking about the real world as well as their creations.
A prime example was published today. Two years ago, Alvaro Enrique's You Dreamed of Empires was a fantastical mix of historical fiction, magic realism and trippy ideas. It chronicled what might have happened, could have happened, maybe should have happened, when Cortez reached Montezuma's court. It started over the top and then went higher, and was an engrossing look at those caught up in toppling an empire.
Now I Surrender, today's new novel from Enrique, a Mexican professor who lives in New York City, is a masterwork of several stories centered on the region of Apachería. That's the area that was where the Apache people lived is now part of Mexico and the U.S., including the American Southwest.
Enrique begins his epic with a Mexican woman running through the desert. Camila Ezguerra, a widow, was kidnapped in 1836 after the ranch where her late husband raised cattle. Some of those were stolen as well. While she adapts to her life as a captive, a soldier, Zuloago, rounds up a ragtag group of volunteers and conscripted prisoners to track the Apache who took her. Some of that group will be known later to history.
But this is not just a story of that event. The novel also recounts the last days of Geronimo after he surrendered in 1885 after wintering with a group of children and other elders. What he told the soldiers was "Now I surrender to you and that is all."
"And that is all" is not a surrender, according to Enrique:
What he was doing was graver and more beautiful. He was declaring the end of something vast that had begun when the first Asian voyager spied North America and saw that it was good. His brusqueness is a gesture of resistance when nothing else remains, when the earth beneath one's feet is now called something else. Saying this is all is to say: My silence is your curse and that will be all. America, America, that is all.
Enrique also writes about parts of Geromino's legacy that live today, from his name being invoked when children jump into a pool to the respect he is given by the author's children during a road trip his family took from the East Coast to Apacheria.
The historical parts of the novel concern themselves with the loss of country but not loss of identity and cultural heritage, regardless of what the conquerors would have the conquered become. Holding on to one's national identity carries on in the present day when the author's citizenship and residency status become part of the story.
What are individuals when nations come and go, when people travel from one place to another, when who one is remains, as ever, tied to where one was born? This is what the novel explores.
Now I Surrender is an epic tale of individuals caught within the ebb and flow of civilizations, of national identity and of political chauvinism.
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A few of the other fiction titles coming out this week, with links to The Literate Lizard and descriptions by the publishers. May you find something to help ground you or give yourself a break.
Remote Western Australia, 1958: here, for generations, the MacBrides have lived on a vast sheep station, Meredith Downs. It is a million acres, an ocean of arid land. On an ordinary day, on a lonely road, under the unending blue sky, patriarch Phil MacBride swerves to avoid a kangaroo. In seconds the lives of the entire MacBride family are shattered. And then, tragedy revisits when a twist of consequences claims the life of one sibling, and leads another to give up everything for the sake of an innocent child. Matt, the youngest MacBride, is plunged into a moral and emotional journey for which there is no map, no guide.
A widow twice-over, Etheldreda is now saddled with the care of her two children, a priggish stepdaughter, and a razor-taloned peregrine falcon. Her entire life has become a ruse, just like the manor hall they live in: grand and ornate on the exterior, but crumbling, brick by brick, inside. Fierce in the face of her misfortune, Ethel clings to her family’s respectability, the lifeboat that will float her daughters straight into the secure banks of marriage.
When a royal ball offers the chance to secure the future she desperately desires, Etheldreda must risk her secrets, pride, and limited resources in pursuit of an invitation for her daughters—only to see her hopes fulfilled by the wrong one. As an engagement to the heir of the kingdom unfolds with unnerving speed, she discovers a sordid secret hidden in the depths of the royal family, forcing her to choose between the security she’s sought for years and the wellbeing of the feckless stepdaughter who has rebuffed her at every turn.
Written in the form of a 19th-century notebook of ornithological observations, Field Notes from an Extinction follows the life and work of one Ignatius Green, a fictitious English scientist dispatched by the Royal Society to the remote island of Tor Mor off the northern Irish coast. Green, a widower, is single-minded and self-righteous, brilliant and bumbling. He is determined to set the scientific record straight on the mating rituals, feeding and care of hatchlings and other minutiae he can gather about the Great Auk (pinguinus impennis).
Green’s world is shattered when his monthly goods delivery arrives ravaged by the local Irish townsmen. His fury at their impertinence is matched only by his dismay at finding a small child amid the shipment--dirty, abandoned, mute, and utterly feral and unmanageable. Worse, the locals are growing restless and hungry. And there is talk sweeping the land of a terrifying woman with unnatural power.
Green fights for his survival against brigands and hunger and, most fearsome, the resolve of a fierce and angry child. And, perhaps, for a wider understanding of family amidst roiling societal unrest.
In a cluttered rent-controlled apartment in the middle of Manhattan, Barbara Rosenberg is terminally ill, high on opioids, and writing the story of her life. She has opinions about her smutty late husband, her career as the receptionist for a disreputable plastic surgeon, her glory days as an accomplished jazzerciser, and her failed aspirations to be a film noir actress. But what she really wants to talk about are unhinged thoughts on gender, Karl Marx, Zionism, and her two great disappointing loves: an estranged trans son and a long-lost best friend whose betrayal haunts Barbara still. As she descends further into delirium and illness, Barbara finds herself in a nightmare from which she cannot escape, and her circumstances put her on a crash course with these intimates—or are they avenging nemeses?—once again.
- Repetition by Vigdis Hjorth, translated by Charlotte Barslund
As winter approaches in Norway and the daylight dwindles, a chance encounter prompts a novelist to reexamine her past. The seismic events following her sixteenth birthday return with haunting vividness, exposing a story both utterly familiar and desperately strange.
It was the year she first got drunk, the year she first had sex with a boy. She was watched like a hawk by an anxious mother and a silent, distant father. It was a year of typical teenage fixation and typical teenage frivolity, and of all the usual parental fretting. Until something else took hold, and her family made an unspoken decision and a terrible sacrifice. Only now, decades later, can these events come close to being comprehended.
Arvy Keening is just trying to get through the week. Tantalizingly close to leaving her college years at Westheimer University behind, all she has to do is pass her finals, pack up her life, and ship off to San Francisco for a prestigious Big Pharma internship. The problem? Arvy just found 200 hits of Molly in her dead mother’s closet. And when two drug dealers come to collect what they are owed, they reveal that the pills are not Molly, but Mona—a rare pharmaceutical that induces intense orgasms. The dealers give Arvy an ultimatum: Sell 200 Monas in 48 hours or die.
To aid in her seemingly impossible quest, Arvy recruits Wolf, Westheimer's resident drug dealer who also happens to be infuriatingly charming and distractingly sexy. In a race against the clock, Arvy and Wolf barrel through their college town, leaving a series of erotic shenanigans in their wake; appealing to horny co-eds, lonely barflies, and a mysterious sorority whose sisters have their own ideas for Mona’s potential uses. But if Mona has a knack for unleashing visceral reactions in the body, what will it unlock in Arvy, who has been repressing grief over her mother’s death for weeks?
In the aftermath of her mother's death, Eleanor is unmoored. For years, her mother orchestrated every detail of her life—from meals, to laundry, to finances—so that Eleanor could focus on her career as a therapist. Left to navigate the world on her own, Eleanor clings to her mother’s final directive: use her inheritance to buy a house.
Desperate to obey her mother one last time, but finding few options she can afford, Eleanor impulsively buys a model home in a valley-turned-construction site, a picturesque development steeped in a shadowy history. It feels like a fresh start, until the rain comes—an endless, torrential downpour. As water seeps in through the house’s cracks, the line between what is real and what is not begins to blur. Haunted by the stories of her patients, a stream of workmen and bureaucrats she can’t trust, and visions of ghosts from her past and present, Eleanor’s reality unravels, and she is forced to reckon with the secrets she’s buried and the desperate choices she’s made.
Set during a doom-fated vacation to the Oregon coast, The Disappointment follows a couple trying to hold close to one another while a bent reality—warped by personal losses and an ever-increasing drift toward the surreal—threatens to unravel them
It’s the night before a much-needed vacation, and Jack—a former playwright mourning his failed career—catches his husband, Randy, packing his mother’s urn. They had agreed: no mother on this trip. Parents, living or otherwise, aren’t the ideal guests for romantic getaways. But Randy has been carrying his mother’s remains everywhere since her death, and he isn’t ready to let go now.
Despite its natural beauty and kitschy charm, the Oregon coast does not provide the respite the couple seeks. Instead, their surroundings and encounters with locals grow increasingly surreal as the days pass. An overly -dedicated Method actor, tantra-obsessed neighbors, and a child environmentalist who may be able to communicate with the dead are but a few of the characters whose presence exposes long-simmering tensions that threaten to undo Jack and Randy’s marriage—to say nothing of their hold on reality.
Young folk singer Elle Harlow reaches the height of her prowess in 1973, with two wildly beloved albums to her name and a hidden history of impossible heartbreak. When she sets foot on the famed Grand Ole Opry stage, a far cry from the mountain that raised her, Elle gives the biggest performance of her life. Then, to the dismay of shocked fans, her producer, and the man who still loves her, she vanishes.
Almost two decades later, eighteen-year-old Marijohn Shaw is spending her summer pumping gas, writing songs on her broken mandolin, and longing for a mother. Her father, Abe, has always sworn he was the last person to see Elle Harlow alive, but when a meteor strikes the woods of their sleepy Pennsylvania town and a piece of Elle’s past emerges from the wreckage, the truth of her disappearance sets fire to everything Marijohn believes about herself, her music, and her ability to love with abandon.
In this electrifying historical novel about coming of age in tumultuous 1960s San Francisco, a pregnant teenager reckons with womanhood and agency after being sent to a home for unwed mothers.
It’s 1968, and the future is bright for seventeen-year-old Elizabeth “Baker” Phillips: She’s the valedictorian of her high school, with a place at Stanford in the fall and big dreams of becoming a journalist. But the seductive free-spirited San Francisco atmosphere seeps into her carefully planned, strait-laced life in the form of a hippie named Wiley. At first, letting loose and letting herself fall in love for the first time feels incredible. But then, everything changes.
Pregnancy hits Baker with the force of whiplash—in the blink of an eye, she goes from good girl to fallen woman, from her family’s shining star to their embarrassing secret. Without any other options, Baker is sent to a home for unwed mothers, and finds herself trapped in an old Victorian house packed with pregnant girls who share her shame and fear. As she grapples with her changing body, lack of choice, and uncertain future, Baker finds unexpected community and empowerment among the “girls who went away.”
Bestselling poet B.W. Paisley is grief-stricken and lost when her sun-kissed life is turned upside down by the unexpected loss of her fiance Lucy, in a fatal car crash that left a young bystander paralyzed.
Unable to escape the media frenzy that swarms the brownstone they once shared, she drives across the country until she hits Everston, Colorado, a town she's never visited but feels unexplainably pulled to. Everston is charming, the people are kind, and, most importantly, no one knows who she is. Deciding to start anew, she changes her name, cuts her hair, and takes up residence in a crumbling old Victorian house, determined to renovate both the house and herself from the ground up.
It feels fortuitous – and a little dangerous – when she learns that the local library holds a weekly grief support group that reads, of all things, poetry. Hesitantly, she joins and slowly begins to build community with the other members, including Henry, a librarian mourning the loss of his brother, Emerson; a young woman recovering from a traumatic accident; and Olivia, a grieving reporter who gives her butterflies. Finally, she can breathe again.
But not for long.
- Death Takes Me by Cristina Rivera Garza, translated by Robin Myers and Sarah Booker
A professor named Cristina Rivera Garza stumbles upon the corpse of a mutilated man in a dark alley and reports it to the police. When shown a crime scene photo, she finds a stark warning written in tiny print with coral nail polish on the brick wall beside the body: “Beware of me, my love / beware of the silent woman in the desert.”
The professor becomes the first informant on the case, which is led by a detective newly obsessed with poetry and trailed by a long list of failures. But what has the professor really seen? As the bodies of more castrated men are found alongside lines of verse, the detective tries to decipher the meaning of the poems to put a stop to the violence spreading throughout the city.
One of the great overlooked voices of modern Irish literature, once hailed as “magnificent” by The New York Times, Mary Lavin’s fiction is now being revived for a new generation of readers in this definitive volume, selected and introduced by Colm Tóibín.
During her lifetime, Irish American writer Mary Lavin was a prominent literary figure. Throughout the 1940s, ’50s, and ’60s, her stories were frequently featured in The New Yorker, compared to the works of Chekhov, James, and Wharton, and celebrated in major publications, ranging from The New York Times to The Irish Times. Lavin won prestigious awards, such as the James Tait Black Memorial Prize and the Katherine Mansfield Prize, and her influence extends to many of today’s great fiction writers. Yet, despite her incredible success, Lavin’s once acclaimed body of work has largely fallen out of print, lost and erased from the canon.
There is a village carved into the rock of the Maremma hinterland in Tuscany and its name is Le Case. A dying country. A provincial trap. A microcosm of characters who are as vivid as they are universal, their days unchanging and at times tedious.
That is, until the small community is shocked by the arrival of Samuele Radi, born and raised in the heart of the old village, but lost long ago to the world beyond. His return home is the trigger for this magnificently sprawling, choral novel by the author of Nives.
Here is a story about destiny and attempts to change it, about dangerous passions, about games that involve love and death. Because in Le Case the human universe is at times unforgiving. A large cast of extraordinary and memorable characters (including Nives herself, from Naspini’s well received English debut), complicated lives, and complex interpersonal relations: all of these overlap, collide, commingle in a story of secrets and lies. Fortunes are lost, revenge is plotted; there are religious conversions, betrayals, theft, joy, and misfortune; there is love and occasional tenderness.
- Diorama by Carol Bensimon, translated by Zoë Perry and Julia Sanches
A taxidermist re-creates a model of the crime that devastated her family and confronts the evidence against its perpetrator: her father.
In 1988, shortly after Brazil reestablishes democratic rule, a state congressman is shot and killed in Porto Alegre. The main suspect: a close friend and colleague in congress, Representative Raul Matzenbacher.
Many years later, Cecília Matzenbacher, his daughter, migrates from Southern Brazil to California, where she finds work as a taxidermist. Her temperament is ideally suited to this type of restoration and the careful reconstruction of a world frozen in time. But as Cecília confronts her own history and the memories of the investigation surrounding her father, her knack for composition frays.
When news arrives that Raul has suffered a stroke and Cecília’s chances to see him again may be limited, her past can no longer stay put, posed like a specimen behind glass. Her story emerges, the past stalking her present, threatening to derail the life she’s made for herself in the United States.
The thirteen interconnected stories of Shakespeare’s Kitchen capture the universal longing for friendship, how we achieve new intimacies for ourselves, and how slowly, inexplicably, we lose them. Featuring seven short stories that originally appeared in The New Yorker, including the O. Henry Prize–winning “The Reverse Bug,” and including six additional pieces, Lore Segal’s stunning collection “exhibits a rare insight into the human character” (Publishers Weekly).
Called “an enchanting storyteller” by The Los Angeles Times, Segal unravels a web of human relationships as we meet Ilka Weisz, who, having accepted a teaching position at the Concordance Institute, a Connecticut think tank, reluctantly leaves her New York circle of friends. After the comedy of her struggle to meet new people, Ilka comes to embrace, and be embraced by, a new set of acquaintances, including the institute’s director, Leslie Shakespeare, and his wife, Eliza.
Through a series of memorable dinner parties, picnics, Sunday brunches, and long hours of kitchen conversation, Segal evokes the subtle drama and humor of an outsider’s loneliness, the comfort and charm of familiar companionship, the bliss of being in love, and the strangeness of our behavior in the face of other people’s deaths.
A woman sends postcards to a former lover from the idyllic Gold Coast. A chorus of hometown voices gossip about a wayward friend returned. A young girl discovers a hidden box of horrors.
Helen Garner is best known for her frank, unsparing, and intricate portraits of Australian life. Now, in Stories, comes the collected short fiction of a singular literary voice. These stories delve into the complexities of love and longing, of the pain, darkness, and joy of life, and all told with Garner's characteristic sharpness, honesty, and humor.
Yes, this is a paperback reissue but it is a engrossing novel about friendship and what happens after some people in a group grow up.
Five high school friends are bonded by an oath to protect one another no matter what.
Then, on a camping trip in the middle of the forest, they find something extraordinary: a mysterious staircase to nowhere.
One friend walks up—and never comes back down. Then the staircase disappears.
Twenty years later, the staircase has reappeared. Now the group returns to find the lost boy—and what lies beyond the staircase in the woods.
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